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The main motif of Positive is a complex narrative of reality found in gray everyday life brought to life through the creator’s lens, which makes the recipient unsure about the differences between the familiar and the unknown, the real and the unreal. The title of the exhibition is important because it points to the importance of a positive artistic vision in periods when the micro- and macro-environment is moving in a negative direction. Gáti is concerned with the connection and repulsive force of positive and negative influences, which exist mutually and inseparably in our everyday lives. For example, those who have anxiously awaited their medical results will understand what a certain positive can be like, which is actually very negative.

As the visual artist Barbara Nagy put it in her opening speech: “The word positive comes from the Latin word positivus, “placed, put down, put down”. But what does György Gáti put down in these pictures? The multiple meanings of the word positive. The multi-viewpoint of the world.”

According to photo historian Bálint Ferenczy, “Gáti waits, prepares, then selects and arranges for a long time. His pictures are not made in sequences, but in their own rhythm that cannot be planned by humans. It is as if his photographs have a fixed date of birth, which must be born when and as it is written in advance; Deus ex machina, not a matter of choice.” (The authentic image 2017)

Gáti’s working method has always been characterized by the intuitiveness and patience required to explore the relationship between man and the world around him. The human figures hiding in his pictures, the exciting shapes and strange textures generate deeper philosophical and sociological associations. Although the pictures were taken in different places and times, thanks to the aspects of the exhibition, they come into contact with each other and are endowed with completely new meanings. In this way, the absurdities and problems of today’s world are revealed to us behind the scenes of the seemingly simple choice of topics and the minimalist visual toolkit.

In addition to the photos, Barbara Nagy commented on the video works on display at the exhibition: “And in the video works, the surfaces sometimes become a symphony, and sometimes a Wagnerian opera. The rhythm of the surfaces becomes music. »The eye sees, the soul perceives.« This is how the history of cinema is usually described. But this is also true of photography.”

Each Gáti photo speaks for itself, with plenty of visual humor and a colorist’s bold color palette. There is no need for contextualization, paralogization, explanation, or abstract image titles. Ferenczy Bálint wrote about his photographs that they show themselves and speak clearly with the full wit of photographic visuality.

Positive a Faur Zsófi Gallery It can be visited until November 24, 2022.