Fábián Takats’s writing for Népssava;
fine arts; Pompidou; Tamás Konok; Ani Molnár Gallery;
2024-04-20 17:04:00
Back in February, the Ani Molnár Gallery announced that several paintings by Tamás Konok were included in the collection of the Pompidou Center in Paris. I talked about the significance of the recognition with Ani Molnár, the head of the gallery that takes care of the artist’s legacy.
After Ilona Keserü, Simon Hantai, or Victor Vasarely, the works of another great Hungarian artist could be included in the modern art collection of the Pompidou Center – the news spread like wildfire in February. Since its foundation in 1977, the cultural institution operating in a high-tech style building has played a major role in the life of Paris. Now Konok’s three outstanding works from the 1970s were “struck”: Espace descriptif (1975), Extension (1975) and Graphidion vert (1976). The seventies brought the wind of change in the artist’s work. During his trips to Zurich, he found the geometric design language that became dominant in his later compositions. On the monochrome surface of Tamás Konok’s pictures, he drew straight, sometimes curved lines and made his works exciting with contrasting colors. This design language can also be seen in action at the Triumvirate in Pompidou.
Ani Molnár explained how the inclusion took place and why these three works were chosen: “This process started two and a half years ago. One of the Hungarian members of the Pompidou Center’s Eastern European acquisitions committee, Judit Reszegi, was the one who undertook to represent the case.” Creations had to be proposed, and then a long process began. Many rounds and waiting were to be expected. The committee of international curators makes a decision in each case, considering the significance of the artist and the artefact. Marianne Konok, the artist’s widow, together with Ani Molnár, recommended three works from the seventies to the curatorial committee, and the fact that all three were selected is a special success for them. It’s not like there isn’t a worthy recognition of his life’s work. The circle of people who collect Konok pictures is also quite wide. Very young people also buy, but at the same time serious private collections and museums also “drive” his works.
Many art historians deal with Tamás Konok’s art. According to Ani Molnár, the secret of her success lies in the fact that she was able to create a style with a unique tone in the seventies. “All his pictures are based on a line structure, which makes his compositions special”. He dealt with philosophical questions and tried to make the invisible visible. His compositions are easily recognizable and clearly identifiable by their unique formal language, which is the characteristic and distinguishing feature of great artists.
The creator’s personality was also magical: “anyone who knew him would definitely want to own a piece of Tamás”. He was always able to give something new, during his career he “worked in a very stable quality and was constantly renewed”, said Ani Molnár.
He started his career as a figurative artist, and then quickly moved away from it. In 1958, he went to Paris as a Derkovits scholarship holder, during which time he tried to reconcile the naturalist and abstract styles. In 1959, he was in the French capital again for an exhibition. “They summoned him to the Hungarian embassy and practically took away his passport,” said Ani Molnár. He had to decide in one night whether to stay outside or return home. He stayed in France. During the years of emigration, he exhibited in renowned institutions with many world-famous artists, such as Josef Albers, August Herbin, Francois Morellet and Francis Picabia – from whom he was inspired, but he always followed his own path.
The Konok-Hetey Foundation, chaired by Ani Molnár, also takes care of the memory of the artist. It was established in 2008 at the initiative of Tamás Konok and his first wife, Katalin Hetey, a graphic artist, painter and sculptor. Its main task is “the XX. the introduction of the progressive achievements of 19th and contemporary art – especially sculpture and painting – and outstanding domestic and foreign artists”, can be read on the foundation’s website. The organization deals with the continuation of the life work of the founders, although “basically, the foundation itself is not a research center”. However, they organize individual and group exhibitions every year, which also feature the works of the two artists. Last year, the Konok-Hetey Art Prize was established, which is awarded to artists over thirty-five years old who work with geometric-constructive-concrete painting, as well as innovative works and new ideas. The prize is announced annually, alternately for painters and sculptors. In 2023, painters could participate in the competition, the winner of which was András Wolsky. Sculptors can apply this year.
I also learned that Konok works are still appearing at large auction houses abroad. At the same time, Tamás Konok has a core material, which partly consists of works from the Ludwig Museum’s 2020 oeuvre exhibition, curated by Krisztina Szipőcs. “We consider it very important to have works from all eras that cannot be sold to private collectors, but only to major public collections and museums.”
As a gallerist, it was a defining experience for Ani Molnár that she was able to work with Tamás Konok in her lifetime, and that she can continue to nurture Konok’s oeuvre together with the artist’s widow. “We were able to work together personally for several years. Tamás was able to tell me about an artistic and historical era in an extremely colorful way, which my generation has no experience of.” Because of the personal connection, it is quite different to work with the estate in this way.
Every two years, Tamás Konok organizes a solo exhibition at the Ani Molnár Gallery, where a different art historian is always asked to be the curator. Lately, among others, Lili Boros and Flóra Mészáros have also dealt with the artist’s oeuvre. The main objective, in addition to the aforementioned, is to give a glimpse of Tamás Konok’s work abroad from time to time in an international context.
Ani Molnár explained how the inclusion took place and why these three works were chosen: “This process started two and a half years ago. One of the Hungarian members of the Pompidou Center’s Eastern European acquisitions committee, Judit Reszegi, was the one who undertook to represent the case.” Creations had to be proposed, and then a long process began. Many rounds and waiting were to be expected. The committee of international curators makes a decision in each case, considering the significance of the artist and the artefact. Marianne Konok, the artist’s widow, together with Ani Molnár, recommended three works from the seventies to the curatorial committee, and the fact that all three were selected is a special success for them. It’s not like there isn’t a worthy recognition of his life’s work. The circle of people who collect Konok pictures is also quite wide. Very young people also buy, but at the same time serious private collections and museums also “drive” his works.
Many art historians deal with Tamás Konok’s art. According to Ani Molnár, the secret of her success lies in the fact that she was able to create a style with a unique tone in the seventies. “All his pictures are based on a line structure, which makes his compositions special”. He dealt with philosophical questions and tried to make the invisible visible. His compositions are easily recognizable and clearly identifiable by their unique formal language, which is the characteristic and distinguishing feature of great artists.
The creator’s personality was also magical: “anyone who knew him would definitely want to own a piece of Tamás”. He was always able to give something new, during his career he “worked in a very stable quality and was constantly renewed”, said Ani Molnár.
He started his career as a figurative artist, and then quickly moved away from it. In 1958, he went to Paris as a Derkovits scholarship holder, during which time he tried to reconcile the naturalist and abstract styles. In 1959, he was in the French capital again for an exhibition. “They called him to the Hungarian embassy and practically took his passport,” said Ani Molnár. He had to decide in one night whether to stay outside or return home. He stayed in France. During the years of emigration, he exhibited in renowned institutions with many world-famous artists, such as Josef Albers, August Herbin, Francois Morellet and Francis Picabia – from whom he was inspired, but he always followed his own path.
The Konok-Hetey Foundation, chaired by Ani Molnár, also takes care of the memory of the artist. It was established in 2008 at the initiative of Tamás Konok and his first wife, Katalin Hetey, a graphic artist, painter and sculptor. Its main task is “the XX. the introduction of the progressive results of 19th and contemporary art – especially sculpture and painting – and outstanding domestic and foreign artists”, can be read on the foundation’s website. The organization deals with the continuation of the life work of the founders, although “basically, the foundation itself is not a research center”. However, they organize individual and group exhibitions every year, which also feature the works of the two artists. Last year, the Konok-Hetey Art Prize was established, which is awarded to artists over thirty-five years old who work with geometric-constructive-concrete painting, as well as innovative works and new ideas. The prize is announced annually, alternately for painters and sculptors. In 2023, painters could participate in the competition, the winner of which was András Wolsky. Sculptors can apply this year.
I also learned that Konok works are still appearing at large auction houses abroad. At the same time, Tamás Konok has a core material, which partly consists of works from the Ludwig Museum’s 2020 lifetime exhibition curated by Krisztina Szipőcs. “We consider it very important to have works from all eras that cannot be sold to private collectors, but only to major public collections and museums.”
As a gallerist, it was a defining experience for Ani Molnár that she was able to work with Tamás Konok in her lifetime, and that she can continue to nurture Konok’s oeuvre together with the artist’s widow. “We were able to work together personally for several years. Tamás was able to tell me about an artistic and historical era in an extremely colorful way, which my generation has no experience of.” Because of the personal connection, it is quite different to work with the estate in this way.
Every two years, Tamás Konok organizes a solo exhibition at the Ani Molnár Gallery, where a different art historian is always asked to be the curator. Lately, among others, Lili Boros and Flóra Mészáros have dealt with the artist’s oeuvre. The main objective, in addition to the above, is to give a glimpse of Tamás Konok’s work in an international context.
