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Istvan Horkay (b. 1945)
Istvan Horkay was born in Budapest Hungary in 1945. After
graduating from the School of Fine Arts in Budapest in 1964,
he was invited to attend the Academy of Fine Arts in Krakow,
Poland, the major arts and cultural center of Eastern Europe,
where he received a Master of Fine Arts degree. Horkay continued
his studies with post graduate work at the Royal Academy of
Art, Copenhagen in 1968 and the Academy of Fine Arts, Budapest
in 1971.
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Selected Collections
Hungarian National Gallery, Budapest
National Museum, Esztergom
King Stephen Museum, Székesfehérvár
DG Bank, Frannfurkt am Main Bergenbank, Hamburg
Antenna Hungaria, Budapest
Arizona State University, Tempe
Nationale Niderlanden Insurance Company, Budapest
CW Bank, Vienna
Hungarian National Bank, Budapest
Erste Bank, Budapest
Hungarian Embassy, Brussels
Hungarian Embassy, Moscow
EU Comission Building, Vienna
Soros Center of Contemporary Art, Budapest
Tama Art University Museum, Tokyo
Russian State Ethnography Museum, St Petersburg
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Selected Exhibitions
1970 Krakow, Poland
1974 Warszawa, Poland
1990 Budapest Hungary; Stuttgart Germany, Edmonton, Alberta
- Canada
1992 Budapest, Opera House, Hungary; Sienna, World Meeting
ISRA, Italy
1993 Rotterdam, Word Trade Center, Holland
1994 Budapest, Hungary
1995 Melbourne, Florida, USA; Delft, Holland
1996 Brussels, Belgium
1997 Berlin, Germany
1998 Zurich, Switzerland
2000 Salt Lake City, Utah; Utrecht, Holland
2001 Budapest; Las Vegas; Moscow; Hungarian Embassy
2001 Turku, Finland; ART'OTEL Budapest
2002 Eastern Washington University
2002 Kamiyamada, Japan
2003 American Fine Art Editions Inc, Scottsdale, AZ
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Horkay's work combines original drawn and painted images,
appropriated masterpieces, photographs, artists' signatures
and commercial logos. These elements are digitally assembled,
i.e., collaged, to create a single, layered moment. This work
is post pop, i.e., post modern pop art. Whereas Warhol took
moments from popular culture and turned them into history,
Horkay takes history and turns it into a moment, as though
the past millennium was a monolithic unit of time.
-from an exhibition review
The newest Collages, Photo-Transformations of Horkay, in
a certain regard are the continuation of the previously established
visual formatting and creating methods. These are not simple
extract citation, or not only the verifications of his knowledge
to select from the wide tradition of visual art, but a selection
for a purpose. In the newest visual theory research there
is a higher emphasis on analyzing image anthropology (Hans
Belting). Horkay's artworks are directive by that respect.
By giving more prominent value to the expression of the implied
anthropological substance, to the gesture, to the pose, he
does not simply create a more significant work as before,
he implies those rudiments (elements) into his statement.
The anthropologists, and along them the contemporary DADA
is not deterred from the realization, that applying body language
and positioning in the visual creativity process has tremendous
meaning value. That applies for Horkay's art also. The power
and expression of his work comes from the application and
combination of the redemption of the meaning, and the statement
of gesture, pose and body. Wolffin stated already in 1921,
that the vision has explanatory and illustrative features,
meaning we do not simply see, we see something by something
- by that a vision is able to refer to not only itself, but
to assign to a certain relation trough it, which is more than
the ordinary sight itself, since we never see only the picture.
A picture born by a vision.
- Bacsó Béla
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