Biennale Katalogus 2012

2012
Szervezk / Organizatori / Organizers
Tmogatk / Sponsori / Sponsors
A rendezvny fvdnke Kelemen Hunor, Romnia kulturlis s rksgvdelmi minisztere. Bienala

este organizat sub patronajul Ministrului Culturii i Patrimoniului Naional, Kelemen Hunor. The
Biennials first-patron is Kelemen Hunor, the Romanian minister of culture and national heritage.
Munkatrsak / Colaboratori / Collaborators:

Imreh Istvn, Kassay L. Pter, Muszka Vilmos, Szcs Edit, Zsid Kroly,
Ers Ildik, Koter Vilmos, Szab Zsolt, Siklodi Zsolt
Nemzetkzi Grafikai Szemle - II. Szkelyfldi Grafikai

Biennle 2012
ISBN: 978-606-92797-8-6
Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review
A zsri tagjai / Membrii juriului / Members of the jury

Dr. Erss Istvn
grafikusmvsz egyetemi docens, tanszkvezet, Eszterhzy Kroly Fiskola, Eger,
Magyarorszg grafician confereniar universitar, Eszterhzy Kroly Fiskola, Eger, Ungaria
graphic artist associate professor, Eszterhzy Kroly Fiskola, Eger, Hungary
Gal Jzsef
festmvsz egyetemi docens, Magyar Kpzmvszeti Egyetem, Budapest,
Magyarorszg pictor confereniar universitar, Magyar Kpzmvszeti Egyetem, Budapesta,
Ungaria painter associate professor, Magyar Kpzmvszeti Egyetem, Budapest, Hungary
Kassay L. Pter
igazgat, Gyergyszrhegyi Kulturlis s Mvszeti Kzpont a zsri titkra,
Romnia director, Centrul Cultural i de Arte Lzarea secretarul juriului, Romnia
director, Cultural and Art Centre of Lzarea the secretary of the jury, Romania
Opri Cristian
grafikusmvsz egyetemi asszisztens, Universitatea de Art i Design, Kolozsvr, Romnia
grafician asistent universitar, Universitatea de Art i Design, Cluj-Napoca, Romnia
graphic artist tutor, Universitatea de Art i Design, Cluj-Napoca, Romania
Sikldi Zsolt
grafikusmvsz a Biennale kurtora, Gyergyszrhegyi Kulturlis s Mvszeti Kzpont
Romnia grafician curator al bienalei, Centrul Cultural i de Arte Lzarea, Romnia
graphic artist curator, Cultural and Art Centre of Lzarea, Romania
Dr. Ujvrossy Lszl

grafikusmvsz egyetemi professzor, Partiumi Keresztny Egyetem, Nagyvrad, Romnia
grafician profesor universitar, Universitatea Cretin Partium, Oradea, Romnia
graphic artist professor, Partium Christian University, Oradea, Romania
Vcsi Nagy Zoltn

mvszettrtnsz Haz Rezs Mzeum, Szkelyudvarhely, Romnia
istroric de art Muzeul Haz Rezs, Odorheiu Secuiesc, Romnia
art historian Haz Rezs Museum, Odorheiu Secuiesc, Romania
Nyitott kapu a kultrk fel

Ha a mvszet sszefog erejre gondolunk, akkor az sajtos nyelvn kell azt megkzeltennk. A
kpzmvszet rsjelei, a folt, a vonal, a szn, olyan nyelvet alkotnak, amelyet mindenki rt, mgsem tud
szavak segtsgvel hozz hasonlt krelni. Szkelyfld sajtossgai kztt ugyanez lthat: mindenki tudja,
mindenki beszl rla, de azt meghatrozni minden jellemzjvel elg nehz. A Szkelyfld Kelet-Eurpa
peremn, kt kultra trsvonaln elhelyezked tjegysg. Itt tallkoztak a szkelyekkel a szsz
kazettafestk, rmny kereskedk, moldvai ikonfestk, bukovinai tojsfestk, csng fafaragk s az ltaluk
kpviselt kulturlis rtkek. Ezek a klcsnhatsok olyan rtkeket szltek, amelyek teljesen egyediv teszik
ezt a vidket. Ha mindezeket a tnyezket tvettjk a Szkelyfldi Grafikai Biennlra, akkor ezeknek az
rtkeknek a gykereit rintjk.
A Grafikai Biennle azzal, hogy a vilg minden tjra szl grafikai versenyt hirdet, s erre ilyen nagy
szmban nevezett be Japntl Irnon s rmnyorszgon keresztl az Egyeslt llamokig ennyi mvsz,
arra utal, hogy erre a multikulturlis sznezet kpzmvszeti rendezvnyre rdemes idt, energit s pnzt
ldozni. A Grafikai Biennlval Szkelyfld a kultrk fel nyitst hangslyozza.
Mi, Szkelyfld vlasztott vezeti azon dolgozunk, hogy sajtossgainkat a vilggal sszevessk s
megerstsk helynket benne, akr az ilyen rendezvnyek szervezse, tmogatsa ltal.
Borboly Csaba
Hargita Megye Tancsnak elnke
Tams Sndor
Kovszna Megye Tancsnak elnke
Lokodi Edit Emke
Maros Megye Tancsnak elnke
Poart deschis spre varietate

Dac este s ne gndim la puterea de unificare a artei, trebuie s o abordm n limba sa distinct. Diacriticele
artelor plastice, pata, linia, culoarea formeaz o limb observat i neleas de toat lumea, ns nu poate
crea ceva asemntor acesteia cu ajutorul cuvintelor. Legat de semnele distinctive ale inutului Secuiesc,
situaia este asemntoare: toat lumea le cunoate, toat lumea vorbete despre ele, dar cu greu poi
formula o definiie care s cuprind toate caracteristicile sale. inutul Secuiesc este o regiune la grania
Europei de Est, este o linie de demarcaie ntre dou mari regiuni geografice i culturale. Aici s-au ntlnit
pictorii sai de casete, comercianii armeni, pictorii de icoane din Moldova, ncodeietorii de ou din Bucovina,
sculptorii ceangi cu secuimea i valorile culturale reprezentate de aceasta. Aceste interaciuni au dat natere
unor valori care au conturat un caracter cu totul aparte al acestei regiuni. Dac proiectm toate acestea pe
Bienala de Grafic vom ajunge la rdcinile acestor valori.Faptul c Bienala de Grafic este un eveniment
care se manifest n toate colurile lumii la care s-a nscris un numr considerabil de artiti din Japonia pn n
Iran, sau chiar din Armenia i Statele Unite ale Americii, este o dovad c timpul, energia i banii investii n
aceast manifestare de arte plastice multicultural, sunt sacrificii care merit efortul nostru. inutul Secuiesc,
prin Bienala de Grafic reuete s accentueze deschiderea spre alte ramuri artistice, ale cror adept este, i
poate deveni o poart deschis n aceast varietate cultural artistic.
Noi, ca reprezentanii inutului Secuiesc ne strduim s ne comparm particularitile culturale cele din alte
zone, s ne cutm un loc n lumea cultural, chiar i prin organizarea, sprijinirea unor astfel de manifestri.
Borboly Csaba
preedintele Consiliului Judeean Harghita
Tams Sndor
preedintele Consiliului Judeean Covasna
Lokodi Edit Emke
preedintele Consiliului Judeean Mures
Open gate in the variety of colours (cultural polychromy)

If we think of the cohesive power of art we need to approach it in its own particular language. The letters and
punctuation marks of fine arts: the spot, the smear, the line, the patches of colour add up to create a language
that is seen and understood universally, and yet no such language can be created with the help of mere word
combinations. The same can be seen in the case of the specific features of the Szkely Region: everybody
knows them, everybody speaks of them, however coming up with a comprehensively accurate definition of it
proves to be quite difficult a task. Szkely Region is a region at the boundary of Eastern Europe, a dividing line
on two great geographical and cultural fault lines. This is where the Szekelys met with the Saxon caisson
artists (coffer painters), the Armenian merchants, Moldavian icon painters, Bucovinian egg painters, Ceangai
woodcarvers: thus a melting pot of the cultural assets represented by these ethnic groups. These interactions
gave birth to values that render this region absolutely unique. If we project all of these factors onto the Szkely
Region Graphics Biennial, we actually touch its very core.
By announcing a graphic art competition addressed to artists from all over the world and having such a large
number of artists from Japan to Iran to Armenia to the United States enter the competition, the Graphics
Biennial lets us conclude that it is very much worth investing time, energy and money into this visual arts event
with multicultural colouring. With the Graphics Biennial the Szekely Region emphasizes its opening up towards
other cultures, as an active creator-propagator of culture and the open gate of the region in the great cultural
variegation.
We, the appointed leaders of the Szekely Region are continuously engaged in comparing and confronting our
distinctive features with the particularities of other parts of the planet, thus seeking our place in this
varicoloured world. This is what motivates us to organize and support events of this kind.
Borboly Csaba
president of Harghita County Council
Tams Sndor
president of Covasna County Council
Lokodi Edit Emke
president of Mures County Council
Jegyzet
Ha visszagondolunk az els Grafikai Biennle szervezse sorn elhangzott ama mondatra, miszerint, egy
hossztv, rendszeresen ismtld projekt esetn a msodikat a legnehezebb megszervezni, joggal
mondhatjuk hogy ez egy igaz kijelents volt. Ez jrszt annak az amgy rvendetes tnynek tulajdonthat,
hogy az idei versenynek, az elshz viszonytva, jval tbb orszgbl, jval tbb jelentkezje volt.
Minden szervezsi nehzsg ellenre j ltni, hogy a Grafikai szemle, II. Nemzetkzi Grafikai Biennle
szakmai anyaga a szakrti vlemnyek szerint is sok szempontbl jval fellmlja az elz szemlt.
Itt elssorban kiemelend az alkotsok soksznsge, egyenes kvetkezmnyeknt azon orszgok szmnak tbb
mint megktszerezdsnek, ahonnan az alkotk plyztak. Idn olyan orszgok is kpviseltettk magukat mint
Japn, India, Irn, vagy akr rmnyorszg, ami teljesen j szemlletet vettett a Biennle palettjra, de jelen
vannak az olyan ers szakmai hagyomnyokkal br orszgok alkoti is, mint Lengyelorszg, Nmetorszg vagy
Oroszorszg. sszegezve szmszeren, 28 orszg 340 alkotja 817 grafikval plyzott az idei versenyen.
A hagyomnyos grafikai technikk, mint a linmetszet, rzkarc vagy litogrfia mellett, a ksrleti kategriban
is szmotteven megjelentek a mai modern technikai eszkzkkel ksztett alkotsok, mint a szmtgpes
grafika, a C-print, vagy ms grafikai indttats munkk is.
Ez, ha munka szempontjbl jval tbbet is jelentett, taln azzal az eredmnnyel jr, hogy a Grafikai szemle,
Szkelyfldi Grafikai Biennle elfogadott s vilgszinten szakmai krkben jegyzett kpzmvszeti jelleg
rendezvnny vlik.
Siklodi Zsolt
a Biennle kurtora
Gyergyszrhegy, 2012. prilis 15
Not pe marginea Bienalei

Dac ne gndim la o afirmaie care a fost fcut cu ocazia organizrii primei ediii a Bienalei de Grafic
conform creia, n cazul unui proiect periodic de lung durat cel mai dificil este s organizezi o a doua ediie,
putem confirma pe bun dreptate c era o previziune real. Realitatea acestei situaii poate fi atribuit n mare
parte unui fapt mbucurtor c la aceast ediie, fa de cea anterioar, au participat mai muli candidai, din
mai multe ri.
Contrar dificultilor de organizare, e bine de sesizat c nivelul profesional al celei de-a doua ediii a Bienalei de
Grafic, conform opiniei experilor prezint o mai bun calitate artistic dect cel prezentat n ediia precedent.
n primul rnd, trebuie accentuat varietatea creaiilor, ca o consecin direct a cre terii numrului de ri din
care au provenit participanii. n acest an au fost reprezentate ri ca Japonia, India, Iran sau chiar Armenia,
ceea ce a oferit o nou perspectiv n cadrul Bienalei, ns au fost prezeni i artitii unor ri cu tradiii bine
mpmntate n domeniul graficii, precum Polonia, Germania sau Rusia. n total au participat, la concursul din
acest an, 340 de artiti din 28 de ri, cu 817 de lucrri grafice.
Pe lng tehnicile tradiionale de grafic, gravura sau litografia, n categoria experimental au aprut opere
create cu tehnicile moderne de astzi, cum ar fi grafica pe calculator, C-print sau alte lucrri experimentale de
inspiraie grafic.
Chiar dac aceast ediie a presupus un efort mai mare din partea organizatorilor, este posibil s aib ca i
rezultat ca Bienala Internaional de Grafic s devin un eveniment acceptat i o manifestare cu caracter de
art plastic recunoscut i notat n rndul artitilor pe plan mondial.
Siklodi Zsolt
curatorul Bienalei
Lzarea, 15 aprilie 2012
Thoughts on behalf of the Biennial

If we try to remember the affirmation of the first Biennial which said that the organization of the second one is
much more difficult than the first one we can really declare that it was a true affirmation. It was due to the fact
that this year we have received much more artworks from more countries and from more artists than two yers
ago.
In spite of the difficulties of the organization is good to see that the artistical level of the second International
Biennial is much more higher than the level of the firs one. This year we have received artworks from countries
like Japan, Iran, India, Armenia whose countries representatives came with a totally new perception and
visuality for this edition. On the other hand there are present artworks of different artists from countries with
strong traditions in graphics like Poland, Russia, Germany. However we received 817 artworks from 28
countries and from 340 artists.
In conclusion we have on one side traditional technique artworks like etchings, litographys etc and on the other
side there are experimental artworks like computer graphics, c-print, graphic inspired objects and new ways of
printing methods. Of corse this meant more work than two years ago but also meant for us a great experience
and result that this bienial was taken for granted and we hope that it will become a programme admitted in
professional art circles.
Siklodi Zsolt
The Biennials curator
Lzarea, april 15, 2012
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Hagyomny s jts szimbizisa

A kpzmvszeti mfajok sajtos, egymst befolysol talakulson mennek keresztl. Ez a folyamat mg inkbb
jellemz a sokszorost grafika kpi megfogalmazsra, az j mdik eredmnyeit szinte kzvetlenl fel tudja
hasznlni a digitlis nyomdatechnika alkalmazsa ltal. A kp technikai sokszorostsnak funkcija az informcik
hozzfrhetbb ttelt segti, jelenleg mr fokozhatatlannak tnik a korltlanul ml kp manipulatv s erszakos
befolysa. Tudatunkat irnytva a teremtett kpi jelrendszer szinte lefedi ltezsnket, mindennapjainkat. Valjban a
kp trsadalmi szerepnek vltozst szeizmogrfszer rzkenysggel a sokszorost grafika kpes tkrzni. A
sokszorost grafika egyik, a tbbi mfajtl megklnbztet ideja a mvszet demokratikus terjesztse volt a XX.
szzadban. A virtulis kp megvltoztatta a sokszorost grafika szerept, mint nyomtatott kp tovbbra is fontos
maradt a mtrgy anyagisga, br a tisztn digitlis kpnl csak reprezentcis szerepe van a nyomtatsnak. A kpi
fordulat korszakban a grafika mfaja is hatrok nlkliv vlt, az j mdik ltal generlt kp hordozjt mr
szabadon megvlasztja a mvsz, a kifejezsi mdhoz tartozik a technikai kp megjelentsi mdja. A hagyomnyos
kpalakts mr nehezen klnthet el digitlis kpi logiktl, szrevtlenl magv teszi minden felhasznl,
befolyssal van a klnbz kpzmvszeti mfajok alakulsra. A media design fogalma igazbl nem stlust
jelent, hanem a programok ltal meghatrozott kereten belli kreatv mozgstr vizulis termkt. A kreatv mvsz
kpes a mechanikus rendszerbl megteremteni az egyni virtulis kpi vilgt, legyen az alkalmazott vagy autonm
mvszet. A nyomtatott grafika az anyagi hordoz ltal ltezik, ezrt a virtulis, informatv kpisg, az anyagtalan
konceptualizmus is kinyomtatva, anyagi jelenvalsgban rzdik meg. A trgyi rzkenysghez val visszacsatols
ltal a digitalizlt kp is sokszorost grafika eszkzv vlik.
Ezrt nagyon tallkonyan dntttek a biennle szervezi abban, hogy a hagyomnyos mfajokat
meghatroz kategria mellett egy szabadon kezelhet ksrleti kategrit is meghirdettek plyzati
kirsukban. A manulisan ksztett mveken bell is egyre tbb az sszetett technikval egymssal tkz,
vagy ppen elegyt nyomdai megoldsok hasznlata.
Fl vszzad vltozsai letformabeli szoksok, kulturlis szemlletek, tudomnyos vilgszemlletek,
ideolgiai felfogsok koncentrldnak, sokszor alig kdolhatan meglapulnak egy nyomtatott papr felletn.
Fl vszzad mvszeti trekvsei, stlusai egyni felfogsban egyms mellett szerepelnek, nincs kizrlagos
knon. A nemzetkzi szereplk ltal mg inkbb tgul a klnbzsg s sszetettsg ltali kifejezsbeli
gazdagsg. A posztmodern filozfik az eszttikai megtls labilitst, az rtkrendek relativizmust hoztk
magukkal, mindez jl tkrzdik a killtott grafikk sokflesge ltal. Az avantgrd formajtsok termszetes
mdon bepltek, kanonizldtak a hagyomnyos grafikai formanyelvbe, mr nem beszlhetnk
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stlustisztasgrl, nincs klasszicizlhat formanyelv. Ennek tkrben fell kell brlni a sokszor megkvesedett
stlusokat, kvlrl tekintve rdbbenhetnk, hogy a megszokott formavilg mr kiresedett, nem tkrzi, de
nem is kritizlhatja mr ellentmondsoktl terhes vilgunkat. Az rtalmatlannak hitt kpben olyan zenetek
lehetnek, ami megvltoztatja a vilghoz val viszonyunkat, kizkkent a rgi kerkvgsbl. Rknyszerthet a
hagyomny jrartelmezsre, megjtsra. Tagads helyett a megrz vltoztats alternatvjt mutathatja
egy ltszlag rthetetlennek tn grafikai lap, sokszor a stilris eklektika sugallja a vltoztats ignyt, a
feszltsgg fokozd kpi ellentmondsok az egyenslyt vesztett ltllapot kifejezdsei is lehetnek.
nkntelenl belecssztam a killtott mvek elemzsbe, igazsgtalan lennk, ha rangsorolva, az alkott is
megnevezve kiemelnk nhny igazn rangos mvet a killtott grafikai lapok kzl. Ttova tprengssel
szeretnm krlrni a klnbz alkoti felfogsok karaktert, a sokszorost grafikn belli trekvseket.
A hagyomny s jts ellenttprja a legfontosabb krdse ennek a rginak, de a killts vltozatos
anyagt szemllve nyugodtan mondhatjuk, hogy globlis feladata a mvszetnek. gy rzem ez a lassan
nemzetkziv bvl seregszemle is ennek a kettssgnek a harmonizlsra jtt ltre. Az emlkezs
rtegeibl formld kifejezsek megtallsa egyszerre szemlyes s kzssgi feladat. A mvsz egyni
tette is lehet hagyomnyteremt, de csak befogad s ltet kzssg ltal plhet be a kultrba. Ltszlag
legindividulisabbnak tn alkoti magatartsban, a publikum irnyba vetett ostoroz gesztusban is a felrz
egyttrzs rejtzhet. A tagads, a rgi ellen val lzads nem biztos, hogy rombol nihil, ha valami
alternatva is rejlik benne. A grafikai lapokban minden rgi s j szemllet tetten rhet. A megidz
parafrzistl a tudatosan hagyomnyt vllal, megrz vagy tudatosan megjtani szndkoz felfogstl a
fellbrl, ironizl stlusig. Sajtos stlus, mikor az avantgrd s neoavantgrd sokszor a npmvszeti
formavilggal elegyedik, eklektikus llapotban inkbb groteszk, de harmniban felolddva akr j formai
szintzis szlethet. A pop art stlus mr tbbszrs szrn t elegyedik a helyi szocialista kelet-eurpai retro
motvumokkal, mindez emlkezs fanyar melanklival. Feltn az Eurpn kvli orszgok formahasznlata,
az eurpai modernizmus sajtos felhasznlsa kontrasztos eklektikval, vagy ppen a szintzisteremts
ignyvel. Az esszencilis absztrakt kp, a monokrm s minimalista, a geometrikus s strukturalista felfogs
is jelen van a seregszemln hagyomnyos s j grafikai technikk ltal.
Termszetes, hogy nem lehet minden trekvs, prblkozs megtermkenyt erej, rk tartalmakkal
rendelkez mvszet. Kirzdik a genercik ltali alkoti felfogsok sajtossga, a mvszeti vilgszemllet
klnbzsge is, termszetesen egy minsg fltt mr flsleges az sszehasonltgats. Az evolucionista
s autoriter felfogs mr rtelmt vesztette a minstsben, nincs kizrlagos progresszi. A formalizmus
veszlye a mindenron jat akar ksrletezsben is megtallhat. ltalban a stagnl, csak formjban
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megrzdtt npies mvszetrl tlkeznk gy, sokszor elmarasztalva a konzervatv hagyomnytiszteletet. Az

igazi idea pedig a szintzisben kiteljesed malkots, mikor a hagyomny s jts tallkozik, rsom cmben
mg szimbizisknt emltem hagyomny s jts viszonyt, mint lland kzeledst. A rgi rtkeket nem j
kntsben kell bbknt rizni, hanem megjtva, j tartalmakkal gazdagtva ltetni az talakts
merszsgvel. gy rzem ennek a sokflesget felsorakoztat nemzetkzi seregszemlnek ez a valdi clja.
Kihvs s megtermkenyt kaland mind a befogad s alkot szmra egyarnt. Vilg kultrjra nyitott
killtsi frum, ahol a klnbz mvszeti felfogsok sszehasonltsa ltal j dimenzik nylhatnak.
Brmennyire vltozkonynak s felaprzottnak rezzk a mvszetet, fontos megtallni a kohzis alapot,
ms kultrk ltal megersdve akr vltoztatni eszttikai hozzllsunkon. A sokflnek s relatvnak tn
bels igazsgokbl, ami a sznvonalas grafikk sajtossga, megrezzk a kzs elvet, a morlis szemlletet.
A malkotsok a humnus letfilozfia szellemben kszltek a rezignlt szpsgidel megidzstl a
nyersen fogalmazott, provokatv trsadalomkritikig, a bukolikus melanklitl a nyugtalant, tragikus
hangvtelig, az emblematikus egyszersgtl a zsfolt, narratv jelenetig.
Mvszeti hagyomnyunk az egyni felismersek folyamata ltal gazdagodik, az j impulzusok hatsra
dinamikuss, organikus valsgg vlik kulturlis rksgnk. A renk hagyomnyozott kultra csak nyitott
kultraknt maradhat letkpes, fontoss vlik az egyni kezdemnyezs, a keres, kutat mentalits. A
kiismerhetetlennek tn vltozsok kzepette a szpsg s igazsg tovbbra is a malkots
sztvlaszthatatlan, legfontosabb sszetevje marad.
Gal Jzsef
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Simbioza tradiiei i inovrii

Genurile artelor plastice trec printr-o transformare specific, influennd unul pe cellalt. Acest proces este
caracteristic mai degrab formulrii imaginii artei graficii de multiplicare, poate folosi aproape direct rezultatele
noilor medii prin aplicarea tehnicii digitale tipografice. Funcia multiplicrii imaginii ajut la accesarea mai
rapid a informaiilor, n prezent influena manipulativ i forat a imaginilor care ne invadeaz fr limite pare
c nu mai poate fi intensificat. Prin manipularea contiinei noastre, sistemul de simboluri al imaginii create
acoper aproape n totalitate existena, zilele noastre. Arta graficii de multiplicare este capabil s oglindeasc
schimbarea rolului imaginii n societate, cu sensibilitatea unui seismograf. O idee a artei graficii de multiplicare,
care o deosebete de celelalte genuri, a fost propagarea democratic a artei n secolul XX. Imaginea virtual a
schimbat rolul artei graficii de multiplicare, ca imagine imprimat a rmas i n continuare important
materialitatea obiectului de art, dei la imaginea pur digital imprimarea are doar un rol reprezentativ. n era
modificrilor intervenite n imagistic chiar i genul artei graficii a devenit nermuit, suportul imaginii generate
de noile medii acum poate fi ales liber de artist, modul de reprezentare al imaginii tehnice aparine modului de
exprimare. Modelarea tradiional a imaginii este deja greu de separat de logica imaginii digitale, toi utilizatorii
l nsuesc neobservat, are influen asupra evolurii diferitelor genuri de arte plastice. n realitate noiunea
media design nu nseamn stil, ci produsul vizual al spaiului creativ de micare n limita cadrului de programe.
Artistul creativ e n stare s creeze din sistemul mecanic lumea proprie a imaginii virtuale, fie ea art aplicat
sau autonom. Grafica imprimat exist prin suportul material, de aceea aspectul imaginii virtuale, informative,
conceptualismul imaterial se imortalizeaz n form imprimat, se pstreaz n materie. Prin reconectarea la
sensibilitatea obiectual i imaginea digitalizat devine instrumentul artei graficii de multiplicare.
Organizatorii bienalei au decis n mod foarte inventiv atunci cnd lng categoria genurilor tradiionale au
inclus n programul concursului i o categorie experimental care poate fi manipulat liber. Chiar i n cadrul
operelor create manual gsim din ce n ce mai multe, n care se folosesc tehnici complexe soluii tipografice
contrare sau chiar combinate.
Se concentreaz schimbrile unei jumti de secol obiceiuri din modul de via, concepii culturale, concepii
tiinifice despre lume, concepii ideologice, se ascund de multe ori abia codificabile pe suprafaa unei pagini
imprimate. Tendinele de art, stilurile ale unei jumti de secol concureaz la un loc n concepii individuale, nu
exist canon exclusiv. Prin protagonitii internaionali se lrgete i mai mult bogia n expresii dat de diferene i
complexitate. Filozofiile postmoderniste aduc cu sine labilitatea judecrii estetice, relativismul valorilor, toate acestea
se oglindesc prin multitudinea graficilor expuse. Inovaiile de form avangard s-au
14
integrat, canonizat n mod natural n limbajul grafic, nu mai putem vorbi de puritate stilistic, limbajul formal nu
mai poate fi clasificat. n oglinda acestuia trebuie rejudecate stilurile de multe ori pietrificate, privind din exterior
putem constata, c lumea formelor cu care ne-am obinuit s-a golit deja, nu oglindete, dar nici nu poate
critica lumea noastr plin de contradicii. n imaginea considerat inofensiv pot exista mesaje care schimb
atitudinea noastr fa de lume, ne scoate din fga. Ne impune s redefinim, rennoim tradiia. n loc de
negare, o pagin grafic care pare de neneles la prima vedere, poate arta alternativa schimbrii n pstrare,
de multe ori eclectica stilistic ne sugereaz nevoia schimbrii, contradiciile vizuale care se accentueaz
pn la ncordare pot fi chiar i expresia strii de existen ieit din echilibru.
Involuntar am nceput s analizez operele expuse, a fi nedrept dac ierarhiznd, denumind i autorul a
sublinia cteva opere excepionale dintre lucrrile grafice expuse. Cu frmntri ezitante a dori s descriu
caracterul diferitelor concepii de creaie, tendinele n cadrul graficii de multiplicare.
Problema cea mai important a acestei regiuni constituie contrastul dintre tradiie i inovare, dar contemplnd
asupra varietii exponatelor putem constata linitit c este sarcina global a artei. Simt c i aceast trecere
n revist care ncetul cu ncetul devine internaional a luat natere tot pentru armonizarea acestei dualiti.
Gsirea expresiilor formate din straturile memoriei, este o sarcin att personal ct i colectiv. i fapta
personal a artistului poate fi creatoare de tradiie, dar numai datorit unei comuniti primitoare i care o ine
n via poate s se nglobeze n cultur. Chiar i n comportamentul aparent cel mai individual, n gestul flagel
n direcia publicului, poate s se ascund simpatia care ne trezete. Negaia, revolta fa de vechi nu poate fi
cu siguran nihilism distrugtor dac n aceasta exist un pic de alternativ. n paginile grafice se regsesc
toate ideile vechi i noi. ncepnd de la parafraza citat, de la acceptarea, pstrarea sau rennoirea voit a
tradiiei pn la stilul critic, ironizant. Stil personal, atunci cnd avangardul sau neoavangardul se amestec cu
simbolurile artei populare, n starea eclectic este mai degrab grotesc, dar contopindu-se n armonie poate
s ia natere chiar i o nou sintez de form. Stilul pop art deja prin mai multe filtre se contopete cu
motivele retro locale Est-Europene socialiste, toate acestea amintiri cu melancolie acr. Bate la ochi
utilizarea formelor din rile din afara Europei, utilizarea specific a modernismului european cu eclectism
contrastant, sau cu pretenia crerii sintezei. Imaginea abstract esenial, monocromul i conceptul
minimalist, geometric i structuralist sunt prezeni la expoziie prin tehnici tradiionale i de grafic nou.
Este firesc c nu toate tendinele, ncercrile au puterea fructificrii, a artei cu coninut etern. Se poate simi
particularitatea concepiilor creatoare ale generaiilor, dar i deosebirea n concepia referitoare la arte, firete
peste o anumit calitate e inutil s se mai fac comparaii. Concepia evoluionist i autoritar i-a pierdut
sensul n calificare, nu exist progresie exclusiv. Pericolul formalismului se regsete i n experimentarea
15
cutrii cu orice pre a noului. Judecm n general numai despre arta popular care stagneaz, este pstrat
numai prin form, condamnnd de multe ori respectul conservativ al tradiiei. Adevrata idee este ns opera
de art care se mplinete n sintez, cnd tradiia i inovaia se ntlnesc, n titlul lucrrii mele pomenesc nc
despre simbioza tradiiei i inovaiei, ca apropiere constant. Valorile vechi nu trebuie pstrate ca nimfe n
haine noi, ci rennoite, mbogite cu coninuturi noi, a le ine n via prin curajul transformrii. Cred, c
aceasta este scopul real al acestei expoziii internaionale aliniant a diversitii. E o provocare i o aventur
fructuoas att pentru privitor ct i pentru artist. Un for expoziional deschis ctre cultura lumii, unde prin
compararea diverselor concepii de art se pot deschide noi dimensiuni. Orict de variabil i mrunit ar prea
arta, e important s se gseasc baza de coeziune, ntrindu-se prin cultura altor popoare, fcnd schimbri
n atitudinea noastr estetic. Din adevrurile interioare care par de mai multe feluri i relative, care este
particularitatea graficilor de nivel nalt, vom recunoate principiile comune, concepia moral. Obiectele de art
s-au nscut n spiritul concepiei de via umanitarist, de la citarea idealului frumuseii rezignate pn la critica
de societate formulat cu asprime, provocativ, de la melancolia bucolic pn la tonul nelinitit, tragic, de la
modestia emblematic pn la caracterul nghesuit, narativ.
Tradiia artei noastre se mbogete prin procesul recunoaterilor individuale, prin influena impulsurilor noi
motenirea noastr cultural devine dinamic, realitate organic. Cultura testat asupra noastr poate s fie
viabil numai dac este deschis, devine important iniiativa individual, mentalitatea cuttoare,
exploratoare. n mijlocul schimbrilor care par de neptruns, frumuseea i adevrul rmn n continuare
componentele cele mai importante, de nedesprit ale operei de art.
Gal Jzsef
16
The Symbiosis of Tradition and Innovation

The genres of visual art undergo a particular, interactive-interrelational metamorphosis. This process is
especially true in the case of the visual definition of multigraphics, it can almost directly fructify the
achievements of the new media, with the help of the digital printing technique. The function of the technical
multiplication of the image allows a greater accessibility of information, - at the moment the manipulative and
aggressive influence of the excessively flooding images seems to be exerted with superlative intensity. Taking
control over our conscience, the created code of images (system of visual signs) almost entirely covers (takes
hold of) our existence, our everyday lives. Multigraphics is capable of we can say now without exaggerating
reflecting the changes in the social significance of the image with the accuracy of a seismograph. One of the
ideas of multigraphics that differentiated it from the other genres was the democratic dissemination of art in the
20th Century. The virtual image changed the role of multiplying graphics; as a printed image the materiality of
the artwork maintained its importance, although in the case of the purely digital image printing as such has a
merely representational role. In the era of twists-and-turns in image representation also the genre of graphic
art has surpassed and lost its refraining boundaries: the conveyor (representational form) of the image
generated by the new media can now be freely chosen by the artist, the mode of representation of the
technical image is now integrated in the mode of expression. It has become quite difficult to detach traditional
image-creation (generation) from digital visual logic: it is adopted unobservedly by all users and it affects the
evolution of the various genres of fine art. The term media design does not convey a certain style, but much
rather it is the visual product of the creative freedom (of action) within the framework ensured by the different
programmes. The creative artist is able to create his/her own individual virtual imagery (world of images) from
the mechanical system, no matter if we are dealing with applied or autonomous art. Printed graphics exists by
means of the material conveyor, therefore the virtual, informative imagery, the immaterial conceptuality is also
preserved in its printed form, in its physical presence. By providing feedback to the material sensitivity
(receptivity), the digital image also becomes the instrument of multiplicative graphic art.
Consequently, the organizers of the Biennial have been very resourceful in adopting the decision to include
also a freely employable experimental category in their Call for Application, beside the traditional art genres.
We see a tendency to adopt complex printing solutions using contrasting or mixing techniques in the case of
manually created works.
The changes of half a century lifestyle aspects, cultural approaches, scientific world visions, ideological
concepts are concentrated, their presence often hardly decodeable on a sheet of paper. The artistic strivings
ands styles of half a century are present hand-in-hand within the individual interpretation, there being no
17
exclusively valid canon. Thanks to the interaction between the international participants the richness of expression
granted by differences and complexity is nourished increasingly. The postmodern philosophies have brought about the
instability of aesthetic evaluation, the relativity of the scales of values, all this is well reflected by the large variety of
the exposed graphic artworks. The avantgarde form innovations have been canonized, incorporated in a natural
manner into the traditional form language of graphics, we can no longer speak about purity of style, there is no
language of forms that could be subject to classicization. In the light of this we need to reconsider and re-evaluate the
often petrified styles, as we view from the outside we may become aware that the conventional world of forms has
become vacant, it no longer reflects, nor does it criticize our world overflowing with contradictions. The seemingly
innocent image might convey messages that change our attitudes to the world and turn our everyday lives upside
down. It could force us to reinterpret and regenerate tradition. A seemingly incomprehensible graphic work could point
out the alternative of change by preservation as opposed to denial, many times the eclecticism of style hints at the
need to change, visual contradictions taken to the level of unbearable tension can be the symptoms of a
disequilibrium in our state of existence.
I have unwillingly ended up analyizing the displayed works of art, and I guess it would be pretty unfair of me if I
picked a few truly amazing artworks and set up a hierarchical list naming the creator of each of these great
works elected from the multitude of displayed graphic cliches. In a fluctuant reflection I shall attempt to offer a
general description of the character of the different creative concepts and also of the various attempts within
the multiplying graphics.
The antithesis of tradition and innovation represents the most significant issue of this region, however,
contemplating the variety of exhibited works we can easily say that it is in fact a global mission of art. I have
the feeling that this ever-expanding international muster and review of art has been initiated with a view to
harmonizing this dichotomy (duality). The finding of expressions emerged from the strata of memory is at the
same time a personal and common duty. The individual gesture of the artist can also establish tradition, but it
can only be integrated in culture with the contribution of a perpetuating community of receptors. Even in the
most individualized creative attitude, in the criticizing gesture addressed to the large public there can be a
latent awakening compassion. The denial, the rebellion against an old value, system or state of affairs is not
necessarily a demolishing nihilism, provided that it can come up with good alternatives. In the graphic works
we can come across all visions, both old and new: from the evoking paraphrase to the consciously traditionembracing, tradition-preserving or consciouly innovative attitudes to the criticizing, ironizing style. It is particular
style when the avantgarde and neoavantgarde often get intermingled with the folk art forms of expression: in
its eclectic state it is rather grotesque, however, intertwined in harmony it might as well give birth to a new
synthesis of form. Having worked its way through multiple filtering, pop art is mingling with the local socialist
retrograde motifs of Eastern Europe, this is nothing but remembering with bitter melancholy. It
18
is interesting to see the use of form in the non-European countries, the particular use of European modernism
with contrasting eclecticism or why not -, with the intention of creating a synthesis. The essential abstract
picture, the monochromist and minimalistic, the geometrical and the structuralistic approaches are all present
at the mustering, by means of traditional and new graphic techniques.
Of course, not every artistic striving or attempt can be of fructifying force, or become art with permanently valid
contents. We can clearly sense the particularities of the generation-specific creative concepts, the differences
inherent in the artistic visions, but of course, beyond a certain quality niveau there is no point in making
comparisons. The evolutionist and authoritarian approach has by now lost its justification within the evaluative
process, there is no exclusive progression. The danger of formalism can also be found in the insistantly
innovative experimentation. We usually pass this sentence in relation to the stagnating, only formally
conserved folkish art, often criticizing the conservative respect for tradition. The true idea is nevertheless that
of the synthetizingly complete artwork where tradition meets with innovation; in the title of my writing I still refer
to the relationship between tradition and innovation as symbiosis, meaning a constant nearing of the two. We
are not supposed to preserve the old values as puppets in new gowns, but let them live on with the boldness
to transform and render them new, enriching them with new meanings. I think that this is the ultimate purpose
of this international review mustering variegation. It is a challenge and a fecundating adventure both for the
receiver and the creator. It is an exhibition-forum opened up to universal culture, where new dimensions could
emerge as a result of comparing the many different artistic conceptions. No matter how ever-changing and
minced-up art appears to us, it is important to find the cohesive fundament, we might - having been
consolidated by other cultures -, even want to change our aesthetic attitudes. From the multitude of inner
truths that may appear diverse and relative, which is the basic characteristic of quality graphic artworks, we
can sense the common principle, the moral view. These works of art have been created in the spirit of the
humane life philosophy, from the evocation of the resigned beauty ideal to the roughly formulated, provocative
social criticism to the bucolic melancholy to the disturbing, tragical intonation, from the emblematic simplicity to
the overflowing, narrative scene.
Our artistic tradition is enriched by the succession of individual discoveries and revelations, thanks to the
influence of new impulses our cultural legacy becomes a dynamic organic reality. Our inherited culture can
only survive as an open culture, the individual initiative, the searching and exploring mentality become
important. Amidst the seemingly inscrutable transformations beauty and truth remain inseparably the most
essential component of the artwork.
Gal Jzsef
19
Djak / Premii / Prizes
Fdj / Marele Premiu / Grand Prize
Pter gnes
Magyarorszg / Ungaria / Hungary
Egysg
Digitlis nyomat / Tipar digital / C-print
160100 cm
2008-2010
21
Plugor Sndor dj / Premiul Plugor Sndor / Plugor Sndor Prize
Branko Nikolov
Bulgria / Bulgaria / Bulgaria
No other - III
12080 cm
2011
22
Nagy Pl dj / Premiul Nagy Pl / Nagy Pl Prize
Ioan Horvath Bugnariu

Romnia / Romnia / Romania
Cola 4
70100 cm
2009
23
Nagy Imre dj / Premiul Nagy Imre / Nagy Imre Prize
Katarzyna Kalczyska
Lengyelorszg / Polonia / Poland
Cycle Aires. Interaction 1

Metszet / Gravur / Intaglio
10070 cm
2010
24
A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont Dja

Premiul Centrului Cultural i de Arte - Lzarea
Cultural and Art Center Prize - Lzarea
Ferencz S. Apor
Sta
4565 cm
2012
25
A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont

Dja Premiul Centrului Cultural i de Arte - Lzarea
Srosi Mtyas Zsolt

A devins llek anatmija I.

10070 cm
2008
26
A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont Dja

Premiul Centrului Cultural i de Arte - Lzarea
Mehdi Darvishi
Irn / Iran / Iran
My identity
Metszet / Gravur / Intaglio (etching,
aquatint, drypoint)
4560 cm
2011
27

Szepessy Bla
Real de Catorce
Linmetszet / Linogravur / Linocut
20090 cm
2009
28

Cbuz Andrea
Ha te tudnd amit n
15065 cm
2012
29

Pataki Tibor
Sorsknyv XLI.
10070 cm
2012
30
Hagyomnyos grafika / Grafic tradiional / Traditional Graphics
Blint Vilmos - Arnold - Romnia / Romnia / Romania
Kz s lb
Ofszet nyomat /Ofset / Offset
6028 cm
2012
32
Kovcs G. Tams - Magyarorszg / Ungaria / Hungary
Jelensek 1.
3550 cm
2011
33
Cski Istvn - Magyarorszg / Ungaria / Hungary
No connection to printer
Fametszet / Gravur n lemn / Woodcut
2012 cm
2010
Kompromisszum nlkl kszlt

2129,7 cm
2011
34
Ljubomir Krasztev - Bulgria / Bulgaria / Bulgaria
Coils I
Rzkarc / Acvaforte /
Etching
18080
2010
Coils II
Rzkarc / Acvaforte /
Etching
18080
2010
35
Martin evovi - Szlovkia / Slovacia / Slovakia
WAY
Vegyestechnika / Tehnic
mixt / Mixed media
6649 cm
2008
36
Jelena Jovanov - Montenegr / Montenegro / Montenegro
From the cycle Reflections

IMPOSSIBLE LINK State II
4250 cm
2009
37
Zsombori Rbert - Romnia / Romnia / Romania
Horizon I.
10070 cm
2012
Tisza
5585 cm
2011
38
Miran abi - Horvtorszg / Croaia / Croatia
Selfportraits Temperaments Choleric
Selfportraits Temperaments Phlegmatic
Rzkarc / Acvaforte / Etching

70100 cm
2010

70100 cm
2010
39
Andrzej Michalik - Lengyelorszg / Polonia / Poland
The Last Judgement-5
Vegyestechnika / Tehnic mixt /

Mixed media
70100 cm
2009

Mixed media
70100 cm
2009

Mixed media
70100 cm
2009
40
Lina Itagaki - Litvnia / Lituania / Lithuania
I am pigging you
Szitanyomat / Serigrafie /
Silkscreen
4638 cm
2012
The other side

Rzkarc, foltmarats /
Acvaforte, acvatinta /
Etching, aquatint
6330,5 cm
2011
41
Iana Vulpe - Finnorszg / Finlanda / Finland
Istunto (Sesiune) tiraj 4

Paprmetszet / Gravur n carton, tipar nalt / Intaglio
55,550 cm
2011
42
Jakobovits Mikls - Romnia / Romnia / Romania
Semne / Jelek
Foltmarats / Acvatinta / Aquatint
4431 cm
2009
43
Milda Urbyt - Litvnia / Lituania / Lithuania
Space No.8
4530 cm
2009
44
Paul Roba - Romnia / Romnia / Romania
Personaj (din vis)

Rzkarc, hidegt / Acvaforte, ac rece /
Etching, drypoint
3041,5 cm
2011
45
Marta Tyra - Lengyelorszg / Polonia / Poland
Sensing the limit (Boundary of Experience) III
Sensing the limit (Boundary of Experience) VIII

70100 cm
2009-2010

70100 cm
2009-2010
46
Katarzyna Kalczyska - Lengyelorszg / Polonia / Poland

10070 cm
2010

70100 cm
2011
47
Marta Magdalena Tomczyk - Lengyelorszg / Polonia / Poland
Horizon II
Mixed media
10070 cm
2011
Another horizon II
Mixed media
10068 cm
2011
48
Madaras Lszl - Magyarorszg / Ungaria / Hungary
Hall s a Szent
2020 cm
2007
49
Dariusz Kaca - Lengyelorszg / Polonia / Poland
The Pray
When Angel falling down

55,386,5 cm
2011

57,288,7cm
2010
50
Dimo Kolev Kolibarov - Bulgria / Bulgaria / Bulgaria
CykleGravitationThe balkony1
Rzkarc, foltmarats / Acvaforte,
acvatinta / Etching, aquatint
6080 cm
2008
51
Coma Adina Elena - Romnia / Romnia / Romania
CMYK 2
3030 cm
2012
52
Gabija Vidrinskait - Litvnia / Lituania / Lithuania
Blues Mood
Litogrfia / Litografie / Lithography
3954 cm
2011
53
Ills Anna - Magyarorszg / Ungaria / Hungary
Fal
Szitanyomat / Serigrafie / Silkscreen
2325 cm
2010
54
Csillag Istvn - Romnia / Romnia / Romania
Kapu I.
Rzkarc, foltmarats / Acvaforte, acvatinta / Etching,
aquatint
7356 cm
2008
Kapu III.
aquatint
7356 cm
2008
55
Vrkonyi Gyrgy - Magyarorszg / Ungaria / Hungary
Vrs
8863 cm
2012
56
Appel Verena - Nmetorszg / Germania / Germany
Wasen 7
6060 cm
2009
57
Mike Kroly - Romnia / Romnia / Romania
Utca
Bels tr

3550 cm
2011

7050 cm
2011
58
Olenicenco Anna - Romnia / Romnia / Romania
Zombieland
3324,5 cm
2010
The Secret #2
Hidegt / Ac rece / Drypoint
25,520,5 cm
2011
59
Nmeth Tams - Magyarorszg / Ungaria / Hungary
Alak III.
4229,7 cm
2010
60
Daniela Cikati Javori - Horvtorszg / Croaia / Croatia
Exciting
Linmetszet / Linogravur /
Linocut
2535 cm
2011
61
Barbara Hein-Dadfar - Nmetorszg / Germania / Germany
No. 1
10070 cm
2011
No. 2
10070 cm
2012
No. 3
10070 cm
2012
62
Ewelina Masztanowicz - Lengyelorszg / Polonia / Poland
Codziennie (Daily)
3525 cm
2012
Trzy miesice (Tree months)

40,531,5 cm
2012
Trzy razy dziennie (Tree times a day)

3929 cm
2012
63
Dam Istvn - Magyarorszg / Ungaria / Hungary
Nsztnc II.
Silkscreen
7050 cm
2003
64
Vasil Kolev - Vassillo - Bulgria / Bulgaria / Bulgaria
Penetration
Rzkarc, foltmarats, hidegt / Acvaforte, acvatinta, ac rece / Etching, aquatint, drypoint
10028 cm
2012
65
Piotr Stachlewski - Lengyelorszg / Polonia / Poland
Emotions of the edge

Linocut
50,269,2 cm
2010
66
Canuto Kallan - Grgorszg / Grecia / Greece
Untitled
5050 cm
2011
67
Mry Beta - Szlovkia / Slovacia / Slovakia
Feltrs I. (Ezcavation I.)

7070 cm
2011
68
Mihail Mihai Alexandru - Romnia / Romnia / Romania
Orfeu i Euridice I
Rzkarc, foltmarats / Acvaforte, acvatinta / Etching, aquatint
3021 cm
2010
69
Milos Djordjevic - Szerbia / Serbia / Serbia
Cascade, variation # 3
10050 cm
2010
70
Rada Ni - Romnia / Romnia / Romania
Pca (Muma Dracilor)

1427cm
2011
71
Svradi Valria - Magyarorszg / Ungaria / Hungary
Neon I.
10070 cm
2007
Neon III.
10070 cm
2007
72
Popescu Mircea - Romnia / Romnia / Romania
Gnduri i ideograme
5737 cm
2011
73
Karim Bassegoda - Svjc / Elveia / Switzerland
U.F.O
Silkscreen
7050 cm
2010
74
Anghel Andreea - Romnia / Romnia / Romania
A.D.I.D.A.S.
(All day I dream about Sex) I
Mixed media
1725 cm
2011
75
Sztranyk Zsfia - Magyarorszg / Ungaria / Hungary
Pandora szelencje
Vegyestechnika / Tehnic mixt / Mixed
media
10070 cm
2012
76
Ana Vivoda - Horvtorszg / Croaia / Croatia
Traces 1
Traces 2
Vegyestechnika / Tehnic mixt / Mixed media

10070 cm
2011

10070 cm
2011
77
Agata Nowak - Lengyelorszg / Polonia / Poland
Metaphorical landscape 1
6545 cm
2012
78
Mehrdad Khataei - Irn / Iran / Iran
9 / 11
Duel

7656 cm
2010

5676 cm
2010
79
Lestyn Csaba - Romnia / Romnia / Romania
Pseurocyttus maculatus
Mezzotinto / Mezzotinta / Mezzotint
4237,5 cm
2011
80
Szepessy Bla - Magyarorszg / Ungaria / Hungary
Debrecen, h kikt!
8442 cm
2012
81
Anne-Kristin Kollwitz - Nmetorszg / Germania / Germany
Jan with eagle sweat-shirt
Naked under the roof

2939 cm
2012

14,520 cm
2011
82
Koralevics Rita - Magyarorszg / Ungaria / Hungary
Erdei kirnduls
7050 cm
2008
Gykerek II.
7050 cm
2008
83
Igor abraja - Horvtorszg / Croaia / Croatia
Untitled
210070 cm
2012
84
Marek kubal - Csehorszg / Cehia / Czech Republic
Newborn
70100 cm
2010
85
Juhsz Gerg - Magyarorszg / Ungaria / Hungary
Alfred Kubin parafrzis

7050 cm
2008
86
Iepure Vlad Florin - Romnia / Romnia / Romania
Origini II
Silkscreen
70100 cm
2010
87
Christina Kirchinger - Nmetorszg / Germania / Germany
The Acrobats Mystery

3824,5 cm
2012
The Loss of Anchorage

Rzkarc, foltmarats / Acvaforte, acvatinta /
Etching, aquatint
2635 cm
2011
88
Ndas Alexandra - Magyarorszg / Ungaria / Hungary
Budapesti sta I.
7543 cm
2012
Budapesti sta I.
7642 cm
2012
Kis Budapesti sta I.

4126 cm
2012
89
Tusai Istvn - Romnia / Romnia / Romania
Memories, Grandfather
4734,5 cm
2011-2012
90
Fbin Erika - Magyarorszg / Ungaria / Hungary
Kember I.
5050 cm
2011
91
Laura Grybkauskaite - Litvnia / Lituania / Lithuania
Translation. Breakdown.
6550 cm
2009
92
Katarna Cakov - Szlovkia / Slovacia / Slovakia
River I. (River of memories)
River II. (River of memories)
First steps

2030 cm
2010

2030 cm
2010
Hidegt, linmetszet / Ac rece,

linogravur / Drypoint, linocut
2030 cm
2010
93
Brudac Maria - Romnia / Romnia / Romania
Rit solar
70100 cm
2011
94
Tara Ovidiu Florin - Romnia / Romnia / Romania
Doin
2935 cm
2009
95
Kovcs Zsuzsanna Orsolya - Magyarorszg / Ungaria / Hungary
Memento Mori I.
Mixed media
2030 cm
2009
96
Maria Stelmaszczyk - Lengyelorszg / Polonia / Poland
Yellow Balkan Dog

Fametszet, linmetszet / Gravur n lemn, linogravur / Woodcut, linocut
10060 cm
2012
97
Ewelina Szydelko - Lengyelorszg / Polonia / Poland
from the 360 degrees series
from the 360 degrees series

70100 cm
2010

70100 cm
2010
98
Cmpean Tudor - Romnia / Romnia / Romania
Nobody really knew what this place was

321,59,5 cm
2011
What is Happening Here?

2021 cm
2011
99
Suzana Fntnariu - Romnia / Romnia / Romania
Eliptical universe II
Structuri ternare

5985 cm
2011

aquatint
5985 cm
2011
100
Eygenia Melshenko - Oroszorszg / Rusia / Russia
August
Litogrfia / Litografie /
Lithography
3340 cm
2011
101
Kovcs Olivr Artr - Magyarorszg / Ungaria / Hungary
Drug
5070 cm
2011
102
Szab Kristf - Magyarorszg / Ungaria / Hungary
Vizek elvlasztsa
Litogrfia / Litografie /
Lithography
70100 cm
2011
103
Srai Lajos - Magyarorszg / Ungaria / Hungary
Vertigo 1
Vertigo 2

5050 cm
2012

5050 cm
2012
104
Lrincz Gyula - Romnia / Romnia / Romania
rpaletta
7050 cm
2012
105
Visky Ruth - Boglr - Romnia / Romnia / Romania
Utcai jelenet
87,658,4 cm
2009
Kpregny
3549 cm
2009
Felszn s tartalom
Mezzotinto
23,830,7 cm
2008
106
Agata Dymus-Kazmierczak - Egyeslt Kirlysg / Regatul Unit / United Kingdom
Hamartia
2528 cm
2009
107
Curagu Pavel - Romnia / Romnia / Romania
The four primordial elements (Water, Earth, Fire, Air)

10070 cm
2011
108
Emanuela Kovach - Bulgria / Bulgaria / Bulgaria
...And they want to bloom IV

6550 cm
2010
109
Bran Florin Doru - Romnia / Romnia / Romania
Lelea Mriu
media
7050 cm
2012
Casa rneasc
9655 cm
2012
110
Boti Ioan tefan - Romnia / Romnia / Romania
Pentru Gravur
Mezzotinto /Mezzotinta / Mezzotint
23,521 cm
2011
111
Flp Mria - Romnia / Romnia / Romania
Kihajolni veszlyes! (Not to lean out !) 1

10068 cm
2009
112
Kristina Vatova - Bulgria / Bulgaria / Bulgaria
Teget
Rzkarc, foltmarats, hidegt / Acvaforte, acvatinta, ac rece / Etching, aquatint,
drypoint
1850 cm
2012
113
Grapa Teodora-Elena - Romnia / Romnia / Romania
1 pe 1
3333 cm
2012
114
Vasil Angelov - Bulgria / Bulgaria / Bulgaria
The Fifth Season 2

Rzkarc, foltmarats, mezzotinto / Acvaforte, acvatinta, mezzotinta / Etching, aquatint, mezzotint
8060 cm
2011
115
Czimbal Istvn - Magyarorszg / Ungaria / Hungary
Fs kompozci
84,538 cm
2012
116
Kerekes Lajos - Romnia / Romnia / Romania
Pokol bejrata
2838 cm
2012
117
Krunoslav Dundovi - Horvtorszg / Croaia / Croatia
U OKRUZENJU (in surroundings)

7550 cm
2012
118
Petra Richar - Ausztria / Austria / Austria
Untitled
Untitled
Montpia / Monotipie / Monotipie

1015 cm
2010

1015 cm
2010
119
Mocanu Adina Elena - Romnia / Romnia / Romania
Your breath 3
10035 cm
2012
120
Boeriu Anca - Romnia / Romnia / Romania
Despre gest I
10070 cm
2012
Despre gest II
10070 cm
2012
121
Berze Imre - Romnia / Romnia / Romania
rszem
4230 cm
2012
122
Gid Szende Melinda - Romnia / Romnia / Romania
Falanszter III.
5035 cm
2012
123
Iva Dimitrova - Bulgria / Bulgaria / Bulgaria
Candy Land II
5070 cm
2011
124
ukasz Kin - Lengyelorszg / Polonia / Poland
Cathedral
4150 cm
2011
125
Zoran Mishe - Makednia / Macedonia / Macedonia
Membrane of dreams
9860 cm
2011
Social Trap
8050 cm
2011
126
Kisrleti grafika / Grafic experimental / Experimental Graphics
Tasndi Jzsef - Magyarorszg / Ungaria / Hungary
Emlk 1
14280 cm
2011
Emlk 2
14280 cm
2011
Emlk 3
14280 cm
2011
128
Faber-Kovcs Krisztin - Magyarorszg / Ungaria / Hungary
Fst-rcs
2020 cm
2011
Rozsda-rcs
2020 cm
2011
Fld-rcs
2020 cm
2011
129
Martin evovi - Szlovkia / Slovacia / Slovakia
Layers
18020 cm
2009
Layers /Sonde in the human soul Book of live/

15080 cm
2010
130
Balzs Klra - Romnia / Romnia / Romania
Space, Ksrleti tipogrfia

Digitlis nyomat / Tipar digital /
C-print
70100 cm
2011
131
Gret Silinait - Litvnia / Lituania / Lithuania
Home (III) Railway

7050 cm
2012
132
Szp Veronika - Magyarorszg / Ungaria / Hungary
Lzas llapot
150107 cm
2011
133
Gayer Vera - Magyarorszg / Ungaria / Hungary
A hegy re
C-print
3040 cm
2012
134
Szarvk Antal - Magyarorszg / Ungaria / Hungary
Peacemaker
Stencil
10070 cm
2011
135
Pter gnes - Magyarorszg / Ungaria / Hungary
Egysgben
C-print
160100 cm
2008-2010
Bels tj
C-print
160100 cm
2008-2010
136
Pl Csaba - Magyarorszg / Ungaria / Hungary
Protzis
10070 cm
2011
Transmission_01
7050 cm
2011
137
Uschi Dechow - Nmetorszg / Germania / Germany
my home is my castel
mixt / Mixed media
6080 cm
2012
138
Kntor Jzsef - Magyarorszg / Ungaria / Hungary
Zld znk
C-print
10070 cm
2011
139
Magda Sobo - Lengyelorszg / Polonia / Poland
Who is casting the shadow

media
15,510 cm
2011
Who is casting the shadow

media
15,510 cm
2011
140
Enyedi Zsuzsanna - Magyarorszg / Ungaria / Hungary
Felhalmozs III.
12080 cm
2011
141
Magdalena Mller-Ha - Nmetorszg / Germania / Germany
alternate spatiality II
158 cm
2011
142
Z. Erdei Anna - Magyarorszg / Ungaria / Hungary
Apokrif I-II (Pilinszky Jnos versre)

14070 cm
2010
143
Botond Bla - Magyarorszg / Ungaria / Hungary
felfele
7045 cm
2010
144
Srosi Mtyas Zsolt - Romnia / Romnia / Romania
A devins llek anatmija III.

10070 cm
2008
145
Botr Lszl - Romnia / Romnia / Romania
Torztott valsg - beszesze / Realitate deformat beszesze / Deformed reality - beszesze

7050 cm
2012
146
Kovcs-egri Tibor - Magyarorszg / Ungaria / Hungary
Ltod-e I.
10070 cm
2010
147
Ferencz S. Apor - Romnia / Romnia / Romania
Dilemma
C-print
4565 cm
2012
148
Nicolae Macovei - Makovei - Romnia / Romnia / Romania
201701423 xx
6250 cm
2010
5001112103a xx
6075 cm
2007
149
Felsmann Tams - Magyarorszg / Ungaria / Hungary
Musik fr meine augen no 1

(Hommage a Liszt Ferenc)
100100 cm
2011

100100 cm
2011

100100 cm
2011
150
Marie Adamian - rmnyorszg / Armenia / Armenia
Maternity
Mixed media
2129 cm
2012
151
Ulrich Gbor - Magyarorszg / Ungaria / Hungary
Testkpzavar1
7050 cm
2011
152
Mark Wingrave - Egyeslt Kirlysg / Regatul Unit / United Kingdom
Hallucination
Linocut
5173 cm
2012
153
Damokos Csaba - Romnia / Romnia / Romania
A pillanat meglltsnak lehetsge 3.

7070 cm
2012
154
Seres Gza goston - Magyarorszg / Ungaria / Hungary
Malom-gti lelet 1.
Malom-gti lelet 6.
Debreceni lelet 4.

Mixed media
5064 cm
2011

Mixed media
5065 cm
2011

Mixed media
5065 cm
2012
155
Desislava Hristova - Bulgria / Bulgaria / Bulgaria
Transparent Studio - I
18088 cm
2011
Transparent Studio - III

10027 cm
2011
156
Sljiovo Husein - Bosznia-Hercegovina / Bosnia i Heregovina / Bosnia and Herzegovina
Faling I.
Faling II.
Faling III.

C-print
3040 cm
2012

C-print
4040 cm
2012

C-print
3040 cm
2012
157
Puskai Sarolta - Romnia / Romnia / Romania
rnyk-fny
93,570 cm
2012
158
Valk Lszl - Magyarorszg / Ungaria / Hungary
C. D. Friedrich 2009-ben
11585 cm
2009
Puszta. Mark Kroly 2010-ben

11585 cm
2010
159
Demir Karda - Trkorszg / Turcia / Turkey
Cosmos2
Linmetszet /
Linogravur / Linocut
65 cm
2012
160
Murnyi-Matza Terz - Romnia / Romnia / Romania
Egy narckp Anatmija Hommage Rembrandt

C-print
7050 cm
2012
Spiritulis Tj
C-print
7050 cm
2012
161
Matei Lszl - Romnia / Romnia / Romania
Have a break
13070 cm
2012
162
Ioan Horvath Bugnariu - Romnia / Romnia / Romania
Cola 1
Cola 3

70100 cm
2009

70100 cm
2009
163
Flp Jzsef - Romnia / Romnia / Romania
I am
17070 cm
2012
164
Frjesi Csaba - Magyarorszg / Ungaria / Hungary
Genealgia
mixt / Mixed media
150100 cm
2012
Kldets
mixt / Mixed media
150100 cm
2012
165
Marie Kohoutov - Csehorszg / Cehia / Czech Republic
Sunday
4040 cm
2011
166
Mehdi Darvishi - Irn / Iran / Iran
The lost identity

6040 cm
2010
167
Varsnyi Emlia - Magyarorszg / Ungaria / Hungary
Angyalsereg
7070 cm
2003
168
Sndor Edit - Magyarorszg / Ungaria / Hungary
XP 2. /negatv/
XP 3. /negatv/

100100 cm
2011

100100 cm
2011
169
Bir Gbor - Romnia / Romnia / Romania
Herbrium
4833 cm
2012
170
Pet Hunor - Magyarorszg / Ungaria / Hungary
Lpcsn felmen akt

Lambda print
60100 cm
2012
171
Herr gnes - Magyarorszg / Ungaria / Hungary
Fny
C-print
29,742 cm
2011
172
Fekete Szabolcs - Romnia / Romnia / Romania
Irigysg/Kg
100200 cm
2011
173
Arion Ioana Petruta - Romnia / Romnia / Romania
Ne indoim de permanentaMagazinul Central

5035,3 cm
2010
Ne indoim de permanentaStrada Iuliu Maniu

5035,3 cm
2010
174
Maciej Bohdanowicz - Lengyelorszg / Polonia / Poland
Freaks (9)
2323 cm
2011
Freaks (13)
2323 cm
2011
Freaks (12)
2323 cm
2011
175
Mattis-Teutsch Waldemar - Romnia / Romnia / Romania
Greeble tkrben
4030 cm
2012
Greeble kitres
4030 cm
2012
176
Molnr Nikoletta - Magyarorszg / Ungaria / Hungary
Ajndk
56,44 42,33 cm
2012
177
Szurcsik Erika - Magyarorszg / Ungaria / Hungary
Is That The End?
Wave Goodbye
I Will Go Alone

5070 cm
2012

5070 cm
2012

5070 cm
2012
178
Iepure Vlad Florin - Romnia / Romnia / Romania
Origini I
60,660,660,6 cm
2010
179
Lszl Hajnalka - Romnia / Romnia / Romania
Adaptci Gabrielle dEstres and One of Her Sisters cm festmny nyomn

10070 cm
2011
180
Vgvri Beatrix - Magyarorszg / Ungaria / Hungary
Dobozvilg 1
C-print
5070 cm
2011
181
Erss Csongor - Romnia / Romnia / Romania
Subconscious 3
10070 cm
2011
182
Katarina Cakov - Szlovkia / Slovacia / Slovakia
Passing of Time
4020 cm
2012
183
dm Gerg - Magyarorszg / Ungaria / Hungary
globosz I.
100100 cm
2012
globosz III.
100100 cm
2012
globosz II.
100100 cm
2012
184
Szigethy Eszter - Magyarorszg / Ungaria / Hungary
Ms I.
Ms II.
Ms III.

70100 cm
2012

70100 cm
2012

70100 cm
2012
185
Patrick Luetzelschwab - Nmetorszg / Germania / Germany
Schusterinsel 13
3 6590 cm
2011
186
Jnosi Nikolett - Magyarorszg / Ungaria / Hungary
Zuhans
Mixed media
10070 cm
2011
187
Patrick Fauck - Nmetorszg / Germania / Germany
Phnomen
Waldgeistermeister

4869 cm
2011

4866 cm
2012
188
Branko Nikolov - Bulgria / Bulgaria / Bulgaria
No other - I
12080 cm
2011
No other - II
80120 cm
2011
189
Jger Tmea - Magyarorszg / Ungaria / Hungary
Human
4229,7 cm
2011
190
Tolnay Imre - Magyarorszg / Ungaria / Hungary
Adott helyek 1
7050 cm
2006
191
Antal Istvn - Magyarorszg / Ungaria / Hungary
Bul(l)etin
10070 cm
2012
192
Molnr Zsolt - Magyarorszg / Ungaria / Hungary
zem
Fametszet / Gravur n lemn /
Woodcut
70100 cm
2012
193
Szilgyi Rudolf - Magyarorszg / Ungaria / Hungary
opacitlt rszlet 3.
85100 cm
2009
194
Zeman Zoltn - Magyarorszg / Ungaria / Hungary
Silvio Berlusconi
Stencil
10070 cm
2011
195
Ikezawa Takashi - Japn / Japonia / Japan
Imagine - 2
C-print
7190 cm
2011
196
Ajk Piercc + Tee Kho ! - Ukrajna / Ucraina / Ukraine
Nimbi Gatherers
163,315 cm
2012
The Lightning Toilers

55,835,8 cm
2012
MemBreath. May
37,849,4 cm
2012
197
Krncs gota - Magyarorszg / Ungaria / Hungary
Liszt: Requiem
70140 cm
2011
198
Daradics rpd - Magyarorszg / Ungaria / Hungary
Gyertyafnyben
Ltoms

70100 cm
2010

70100 cm
2011
A pillanat hatalma
10070 cm
2011
199
Fazakas Barna - Belgium / Belgia / Belgium
Focus
C-print
4259,4 cm
2012
200
Ks Imola - Romnia / Romnia / Romania
Fekete Angyal
8064 cm
2011
201
Nikolay Petrov - Bulgria / Bulgaria / Bulgaria
InLove
10080 cm
2011
202
Pataki Tibor - Magyarorszg / Ungaria / Hungary
Sorsknyv XIII.
10070 cm
2009
Sorsknyv XLV.
10070 cm
2012
203
Simon Zsolt - Magyarorszg / Ungaria / Hungary
Koccant kocka II.

10070 cm
2009
204
Trk Ferenc - Romnia / Romnia / Romania
Idegenek I.
9060 cm
2010
205
Parmenova Anna - Oroszorszg / Rusia / Russia
Thoughts Of The Fan

140140 cm
2011
206
Lukcs Zsolt - Szlovkia / Slovacia / Slovakia
A rakta
2525 cm
2010
Minsgenedzser
2129,7 cm
2011
207
Mattia Bernini - Egyeslt Kirlysg / Regatul Unit / United Kingdom
Offf
Vegyestechnika /
Tehnic mixt / Mixed
media
4050 cm
2012
208
Orbn Anna-Mria - Romnia / Romnia / Romania
Pont & vonal - A

Mixed media
10070 cm
2012
Pont & vonal - B

Mixed media
10070 cm
2012
209
Vlyi Pter - Magyarorszg / Ungaria / Hungary
J nyomat vagy
170100 cm
2012
210
Boeriu Anca - Romnia / Romnia / Romania
Cuplu
18575 cm
2012
211
Marcell Tams - Magyarorszg / Ungaria / Hungary
Glem
Mixed media
70100 cm
2012
212
Orbn Jnos - Magyarorszg / Ungaria / Hungary
Haj
20073 cm
2011
213
Szts Angla - Magyarorszg / Ungaria / Hungary
Szellemrajzos II.
Szellemrajzos III.

29,742 cm
2012

29,742 cm
2012
214
Fazakas Csaba - Magyarorszg / Ungaria / Hungary
Fellegkapu feszeget 1
100150 cm
2010
215
Tara Ovidiu Florin - Romnia / Romnia / Romania
Cltorie n jurul Lumii

3526 cm
2011
216
Anke Mellin - Nmetorszg / Germania / Germany
Untitled
5020 cm
2011
217
Megjegyzs:
Observaii:
Notes:
A katalgusban tallhat reprodukcikat az alkotk ksztettk.

Reproduciile lucrrilor de art din catalog au fost realizate de ctre artitii creatori.
The reproductions of the art works in the catalogue have been made by the artists themselves.
Mdiapartnerek/ Perteneri media / Media partners:

Biennale Katalogus 2012

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2012

Szervezk / Organizatori / Organizers

Tmogatk / Sponsori / Sponsors

A rendezvny fvdnke Kelemen Hunor, Romnia kulturlis s rksgvdelmi minisztere. Bienala

Munkatrsak / Colaboratori / Collaborators:

Nemzetkzi Grafikai Szemle - II. Szkelyfldi Grafikai

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A zsri tagjai / Membrii juriului / Members of the jury

Dr. Ujvrossy Lszl

Vcsi Nagy Zoltn

art historian Haz Rezs Museum, Odorheiu Secuiesc, Romania

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nyitott kapu a kultrk fel

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Poart deschis spre varietate

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Open gate in the variety of colours (cultural polychromy)

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Not pe marginea Bienalei

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Thoughts on behalf of the Biennial

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Hagyomny s jts szimbizisa

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

megrzdtt npies mvszetrl tlkeznk gy, sokszor elmarasztalva a konzervatv hagyomnytiszteletet. Az

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Simbioza tradiiei i inovrii

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

The Symbiosis of Tradition and Innovation

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Djak / Premii / Prizes

Fdj / Marele Premiu / Grand Prize

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Plugor Sndor dj / Premiul Plugor Sndor / Plugor Sndor Prize

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nagy Pl dj / Premiul Nagy Pl / Nagy Pl Prize

Ioan Horvath Bugnariu

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Nagy Imre dj / Premiul Nagy Imre / Nagy Imre Prize

Cycle Aires. Interaction 1

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont Dja

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont

Srosi Mtyas Zsolt

A devins llek anatmija I.

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont Dja

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

A Gyergyszrhegyi Kulturlis s Mvszeti Kzpont

Nemzetkzi grafikai szemle / Contemplaii grafice / Graphics review

Hagyomnyos grafika / Grafic tradiional / Traditional Graphics

Blint Vilmos - Arnold - Romnia / Romnia / Romania

Hagyomnyos grafika / Grafic tradiional / Traditional Graphics