The art of Incze Mózes (1975-) is about the experience of the European painting tradition in our time, the pictorial self-identification of the man present in the 21st century. It appeals to the technological dimension that ever so pervades and expands the biological-spiritual existence, as the new space of the human being.
Bringing everyday objects to a cognitive system brings about new correspondences and gives way to the imagination and the personal approach, balancing between gestures that reminisce about meticulous details and creative chaos.
The evocation of the form and the relations of the theme’s narrative resulted in a special point of view, which gives us the joy of gaining insight to the world, ranging from the personal to the general. Graduated from the Hungarian University of Fine Arts in 2000, he is a regular participant of the Hungarian and international fine art scene, from intimate solo exhibitions to the openness of international art expos. From the vicinity of Gödöllő, his art got as far as New York and Beijing, residing in private collections and museums alike, providing an ever-expanding landscape for his painting.
He founded the still-existing Élesd Art Colony with his colleagues in 1997, which is a diverse and quality contribution to the fine arts in Hungary.
He exhibits frequently in the GIM-House, as well as other quality Hungarian salons and galleries, which resulted him in a series of awards.
1975 – born in Barót (Transsilvany, Romania)
1990-1994 studied at Art Lyceum, Targu Mures, RO
1994-1995 studies of drawing and compositional skills learned from Kis-Tóth Ferenc, Hungarian University of Fine Arts
1995-2000 I learned painting at the Hungarian University of Fine Arts, Budapest, Nagy Gábor ‘s class
1997- founded the ÉLESD Art Camp (www.elesd.hu) with my colleagues…(19 editions since then)
2000 MLA degree, Hungarian University of Fine Arts
2001 I live and work in Isaszeg, Hungary.
1996 – Pannoncolor prize
1997 – Székely Bertalan prize
2009 – HM-MMKI Mecenatúra prize
2009 – HMG Prize, Hódmezővásárhelyi Őszi Tárlat
2010 – HM-MMKI Mecenatúra first prize
2011 – Koller Prize, given by the Hungarian Art Academy
2011 – HMG prize, Hódmezővásárhelyi Őszi Tárlat
2014 – Prize of Csongrád county, Hódmezővásárhelyi Öszi Tárlat,
– Contemporary Self-Potrait Biennal, Pesterzsébet, first prize
2015 – Új Művészet Prize, VOT
2016- Horváth Prize, VOT
2016 Personal Renaissance – Léna&Roselli Gallery, Budapest
Between Worlds – DD55 Gallery, Köln
Udvarház Gallery, Veresegyház
2015 Pál Art Gallery, Miercurea Ciuc
Revelation – Halköz Gallery, Debrecen
Keve Gallery, Ráckeve
Csepel Gallery, Budapest
Look Back, See Forward- Fazekas Museum, Mezőtúr
2014 Art Salon Budapest, Társalgó Gallery
Ari Kupsus Gallery, Budapest
RaM Center, Budapest
2013 Man, Machine, Image- Várnegyed Gallery, Budapest
Bernády House, Tg Mures, Romania
Prestige Gallery, Budapest
2012 Myth and Modernity-Galleria del Carbone/Ferrara,
Myth and Modernity- Museo Civico/Voghiera,
Myth and Modernity Koller Gallery/Budapest,
Wörösmarty Theatre Gallery, Székesfehérvár
2011 DunaTv Aula / Budapest
2010 Forrás Galéria / Budapest, Csongrád Gallery,Csongrád
2009 Dual World- Forrás Galéria / Budapest
2008 Forrás Galéria / Budapest
2007 Duna Galéria / Budapest
2006 Csongrádi Könyvtár /Csongrád
Arcus Galéria/ Vác
2004 Barót, House of Culture / Barót
2003 Fióka Art Gallery /Budapest
Secco Gallery / Budapest
2002 Gy. Szabó Béla Gallery / Cluj
Bálint Gallery/ Budapest
1999 Torony Gallery/ Kunszentmiklós,
Bercsényi Gallery/ Budapest,
Aula/ MKE /Budapest
1998 Csongrád Gallery / Csongrád
2016 Budapet Art Market, Halköz Gallery
2016 Art Innsbruck, Léna&Roselli Gallery
2015 Budafest Art Fair, Halköz Gallery
2012 Art Beijing 2012, Beijing, Forrás Gallery
2011 International Art Expo, Beijing, Forrás Gallery
Collaborative exhibitions (selection)
2016 20th Élesd Art Camp, Műcsarnok, Budapest
Nature, Created , Theobaldus Kunsthuis, Turnhout
2015 Garden Stories, Gödöllő, GIM House
Evolution, Art Salon Gallery Budapest
Élesd18, Moszkva Café, Oradea
2014 Perception, Art Salon Gallery Budapest
Taboo, Pál Gyula Hall, Nyíregyháza
2013 Zone, MODEM, Debrecen
Élesd Art Camp, Art IX-XI Gallery, Budapest
MiszlaArt- Cluj Napoca, Romania
2011 La Nuova Europa – Giovani artisti ungheresi , Galleria Civica di Palazzo Loffredo, Potenza,Italy
Hungarian Fine Arts –National Museum of China, Beijing ,
2010 Élesd Art Camp – MAMÜ Gallery / Budapest
Holy Mary- Forrás Gallery / Budapest
Painters from Seklerland- Mednyánszky Gallery / Budapest
Élesd Art Camp – Szeged, Reök Palace
Art9 Association, Pince Gallery, Budapest
My day – My night, Koller Gallry, Budapest
2009 Szeged Show, Szeged, Reök Palace
2008 The Fifth Season- exhibition of the Élesd ArtCamp at Szombathelyi Galéria
Sacred Area- the Somogyfajsz Art Camp’s exhibition at Kaposvár.
2007 Direct Pictures – 10 th year of the Élesd Art Camp/ Ernst Museum, Budapest
2006 Élesd Workshop Exhibitions at Vaja, Oradea, Alesd, MAMÜ Gallery
Zemplén Art Festival / Hercegkút
Homage to the 1956’ Hungarian Revolution / European Parliament, Strasbourg
2005 Élesd Art Camp shows /Budapest, Szigetvár, Kaba
Grotesque Biennial / Kaposvár
2004 Labirintus / Margitsziget Water Tower, Budapest, Bombing the Eden / MAMÜ Galéria, Budapest
Balázs Imre Barna and Incze Mózes / Palace of Culture, Marosvásárhely,
2003 Dance, Fióka Art / Budapest
Szentdemeter Pictures / Báthory Hall, Marosvásárhely
2001 Fulda Aquarell Biennal / Fulda
2000 Column, Tölgyfa Gallery / Budapest
1999 Tisza Aquarell Symposion / Csongrád
1997 Nagy Gábor ‘s class exhibition, Támaszpont Gallery/ Budapest
1996- 1999 Csongrád Art Camp, Csongrád Gallery / Csongrád
1997- 2002 – 2004 exhibitions of the Élesd Art Camp / Élesd, Tibor Ernő Gallery/ Oradea
Exhibitions and News
dicembre 2, 2016
Nicola Evangelisti, after having examined the relation among real and virtual in the context of the econo- mic crisis, turns his gaze towards the international political outlook, focusing on the discomfort created by the current terrorist wave in which mass media communication have a signi cant role to play.
It’s such a signi cant coincidence that the English term BEWARE contains the word WAR; as if there were an inherent warning of an armed threat to our security. Quoting the title of a famous album of a musician loved by the artist -Paul McCartney- we could de ne this project a TUG OF WAR, at least for the deployment of a quite interesting arsenal made by his installations.
It is not really war and terrorism chic which is symbolized, but the communication process of informa- tion, the distance between objective facts and their perception: a dyscrasia that makes them subjective. Safety, both mental and physical, is under attack, actualized by the duality between tangible and intan- gible reality.
There is, in these series of installations, a distance between the object of analysis and Evangelisti’s artwork, a kind of lter, a deforming lens represented by the artistic medium. The Information is – by de nition – something unambiguous in relation to the fact it refers to. The correlation between “News” and “Event” corresponds to the relationship between “material” and immaterial”. The natural semantic shifting underlines the distance between the meaning of the word and its own signi er.
BEWARE project’s artworks are just the uncertain empty space in between the incident and its relative information.
A multitude of information on the same event, represents at the same time, press freedom, and a ma- licious or partisan distortion if manipulated by an ideological strategy.
If the information is an exchange of consciousness among several people, it contributes unsurprisingly to the de nition of public social consciousness. The invasion of territories proceeds in parallel to the control of consciousness and public opinion. Such control corresponds to an annihilation. A tendency to move the rational verticality of the spirit towards the ferocious dynamics of the horizontal.
The violence killing victims of war and terrorism isn’t more powerful of the one we experience in the moment horror of death is broadcasted in real-time throughout the web: virtual reality in this way tends to match with another form of reality that manages and in uences our emotional, behavioral aspects and, therefore, our life.
Duality between tangible and intangible reality is translated by Evangelisti into artworks made by phy- sical parts, measurable, and by others only visible through optical e ects. Objective and material ele- ments are grafting onto others that can be de ned virtual, being both common parts of the same form of reality.
In its ambivalent duality, white is symbol of candidness, life and loyalty, as well as darkness, death, grief especially in Asian culture.
White and Black, darkness and light alternates in solidness and emptiness of the artworks, Life and Death exchange signi cances by proxemically shifting from one reality to the other.
It is not by sheer coincidence that the origin of the de nition “white weapon” refers to white re ected by the sunlight on the mirroring steel of swords, knives and lances. “White weapon” like black instrument
Holy Knife by Nicola Evangelisti and Mauro Melotti is a sculpture half composed by a military knife and half by its holographic reproduction.
In reference to his exhibition, Useless Army – where Evangelisti took part with the installation DEMO- CRACY made of shotgun shell – the “useless army” of Art, ghts an intellectual war with militarily blunt arms but sharper in terms of exposure and social protest.
Ri e shells characterize the installations FREEDOM, WAR, DEMOCRACY AND PEACE, English words that stigmatize the American military strategy to continually move the war front beyond their borders. Evangelisti, paraphrasing the “pax romana” concept from the imperial period, de nes the actual as “pax Americana” Where wars are being fought in the name of peace and democracy.
Holy Lance and the shell installations are symptomatic of those who decided to make peace with war. Fought war in the name of peace or religion, paradoxes which have gone along with human history from ancient times till today and that seems not to leave room to any fraternity and harmony. Holy Lance is a wall installation of ambient dimensions composed by mirroring metal silhouettes. The blades and the knifes used to kill the victims of the caliphate are set forming a gunsight image – visually overlapping a cross – underlining the paradoxical capacity of violence in the name of God. Mirroring steel blades, digital forms that have found, in this matter, the capability to re ect the light and the contextual images. We re ect ourselves in the arms and in death’s symbols, likewise in those of peace and faith, in a perceptive continuum whose boundaries are superimposable and interchangeable.
Light that generates shadows like the black colors of ags that darkens the Lybian sun, the obscure side of good, “caligine luminosissima” that clouds minds.
The gunsight symbol, at last, exempli ed in di erent ways within the exhibition, appears also in form of a holographic light hanging before an impending bullet, ready to hit the unconscious visitor: strong is still the interconnection between the objective reality and the supposed one, a more than ever representational synthesis of the world we live in.