We met not long ago with the "Beata Szechy's friends" at
Jokai Club in December 12, 2009, where we saw her "Everybody has a Dream" exhibition. She has exhibited digital
prints, offset prints and mixed media silk screen prints along with a video installation. When I gave the opening remarks
there, I said that Beata Szechy has an open personality: she let us know so much from her secrets that, with other people
is a zone of privacy. We could see there three generation on the video installation, about herself, her mother and her
daughter. The video was projected through on a moving curtain on to the wall.
After barely half year, we are at a new exhibition
here at Gallery IX. Again with Beata Szechy's style, we are in a private zone. As some other women artist do not
like to reveal their age, we are celebrating here her birthday (September 20 is the real date). This anniversary gave
her the opportunity to think about fate, life, time, and as an artist visually show her thought.
With her generation in the Rakosi
era, she was in kindergarden, in the Kadar era she started to connect to the the art world, politics, and, at the end of the
Acel era became an artist. This was the time when the motto was the three "T" (Tamogatas, Tures, Tiltas)
- Support, Patient, Restrictions. At the times started to be less restrain, the culture politics evolved toward the
fourth "T" (Tetovasag) - Confusion. This was the best description for this era.
From this time excellent artists
who have already died came out; such as Jozsef Ady, Peter Istvan Balogh, Peter Bansaghi, Gyorgy Kollar and El Kazovszkij.
Also at this time was born Ef Zambo, Gabor Zaborszky, Arpad Pika Nagy and Peter Baky, and of course many more artists who
are here at this opening. These names as examples are interesting, because they represent so many different artistic
Beata Szechy's life compared to them is very special. Her career started well. Even so, she left in 1987
to the other side of the Ocean when it was still hard to leave. Nevertheless, she left. A short time later she came
home when it was not fashionable to come home, but she did.
Before she left, in the mid 1980's, she was an experimental artist. She started to exhibit again from the mid 1990
using different materials and techniques in an original contemporary way relative to the 21st century.
Five years ago we saw her "Circle"
retrospective exhibition at the Ernst Museum. Along with this she published a book where she says " I started from
somewhere, I took a circle in my life, and I have arrived at the origin... For some reason, it had to happen this way".
Yes: This is a come back, too, and in the meantime the circle is full, a complete symbol, an endless line.
That is what makes
this exhibition exciting. It is a comeback. In the meantime, there is the time and a feeling for something endless.
At this exhibit we can see excellent and light selection from mixed
media paper works, with silk screen, layers, drawings, tapes. These tapes had information on them, that today
are transformed into spiritual visual elements within the art work. The images based on natural elements, familiar in our
cultural landscape, modest, but also carrying much information, especially the artist’s emotion. In these works
not only is openness important, but also the parallel hidden content is important.
We can see her installation next to the paper
works; object composed from dry flowers and a video film along with a curtain. The curtain Szechy used in previous exhibitions,
too, transparent, cover, divide and connect. It is an allegory. The flowers alive and dead, of course in reality they
are not alive. Still, they are alive in our dreams, nostalgia, desires, especially from memories. All together they
indicate life and past. The video is a light installation, a candle’s flame moving, disappearing, moving both
in her garden in Dallas and in Budapest.
It could lift us up in celebration, but in the background the song is very sad; Rezso
Seres’ world famous "The Saddest Sunday" song. The artist wants to thanks Jack Urish (Custom Textile,
Dallas), Gabor Egervary (video) and Aniko Kiss (video) for their support and help.
And the candles are burning...
We are inside and outside, as Beata's titled her exhibit at Dorottya
Gallery in 1994. From the inside and outside we are lifting up to some kind of space.
Szechy organized a celebration for herself and for us. This celebration is not without clouds, not free, not happy.
It is spiritual, and is made to encourage us to think. The exhibit’s little fires let’s us think about Seneca's
sentence (Ignis, quo clarior fulsit, citius exstinguitur): "The brighter fire burns, the sooner it dies".
Here nothing burns today, so this fire will never die.
Budapest , July 9, 2010