The private gallery of Federico Luger was opened in 2005 in Milano. Their new exhibition, “Portraits from the early 21th century”, is a collection of Attila Szűcs‘s works. This is a great opportunity for the Hungarian painter to introduce himself abroad. We asked Attila about his connection to the gallery, and if there is an inside story of the picture “Tranziensek”?
I’ve met Federico Luger five years ago at Arte Fiera, the Bologna Art Fair, where the Erika Deak Gallery exhibited some of my paintings. He liked my works, we started to talk and it was at once clear, that we have a lot to talk about and very much think alike about art. He bought one of my paintings to his own collection at the fair. At the beginning of our collaboration, he put me in group shows, and two years ago I had my first solo exhibit in his Milan gallery. At his stage, our relationship is fruitful, both the local critics and the collectors seem to like my work. Good thing is that Federico is not only a businessman but a true art expert, he knows and understands art. When putting an exhibition together I have free hand, but I like to listen to his opinion when modelling of the installation. My initial plan was to put the different transfigurations of the human face in the focus, and show smaller portraits, which possess psichological and sociological readings as well. During the process of planning, however, we felt that something was missing and decided to add two larger pieces, Transients and Vanishing Point. I started to paint Transiens in 2012. I almost destroyed it completely, repainted parts of it several times, let it sit in my studio, until last year I felt I could finish it. It is now resolved in a purple – yellow complementer, baroque-stile gold state, where three figures dressed in survival blanket, surrounded by aura-like shapes, move in an undefined space. The figures seem to go nowhere, from nowhere, their faces disappear in their own shadows. It is perhaps a metaphor of human’s endless journey.
Opened: 25 January 2018 – 29 March 2018
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