Köves Éva, Still Life, exhibition and catalogue, 2001, Ludwig Budapest

Preface to the exhibition of Éva Köves

“Walls, scaffolding, plastic sheets, a glass on a table, a view reflected in a window – sometimes whole, sometimes shattered and reassembled, in phases of kaleidoscopic motion. In and out, above and below, both the structure and the layer stretched upon it dissolve into one another, as illusion and ‘reality’ either switch places or merge deceptively. A puzzle meets the eye. And while the viewer looks for a solution, an explanation, trying to find the right point of view by shifting places, s/he moves along with the changing view and follows the steps of the process which created it. As the meaning of each picture fragment is deciphered by the intellect, and the totality is put together from the individual fragments, the viewer creates his/her own version of the work.” – Krisztina Passuth

Read the full text: Krisztina Passuth: Preface to the exhibition of Éva Köves


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Éva Köves, since Venice

“It has been four years exactly since Éva Köves exhibited the installation made up of her fragmented series of Budapest cityscapes and authentic documentation of the landscape of the autoroute to Venice in the Hungarian Pavilion at the Venice Biennial in June of 1997. Natura Morta was the collectively broad title we gave to the show at the Hungarian Pavilion, even though Köves had not yet dealt with the still life in its classical sense at the time. Things have moved on since, and to date she has created a string of still life paintings.” – Katalin Néray
Read the full text: Katalin Néray: Éva Köves, since Venice

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The Order in the World
A conversation with painter Éva Köves

I used colour in the academy, and later the colours became very muted, finally to be completely superseded by white. This frightened me, because white can mean the end of art. The fact that I had graduated before the great changes had taken place put me in an even more difficult position, because the impulses that could have oriented me in new directions never reached me. Moreover, I had gained recognition immediately with the Derkovits Grant, so that everything seemed to be going all right. I quickly realised, however, that I was on the wrong track. I did not paint bad pictures, but after a while I could not progress further; I had arrived at a dead end. I was searching for new tools, a context, a mode of expression, thematics, as I felt I had to move away from the classical notion of painting. I had discovered photography before it became the latest fashion, and I did not have much interest in trends anyway. I became acquainted with the art of Gerhard Richter in Frankfurt, where I succeeded in purchasing a copy of his weighty album entitled Atlas. It contained all his works to date, every photo, which had been taken along his travels around the world, in the most diverse of settings. This experience made a great impact on me, and probably played an important part in my finding new possibilities in photography.
Read the full text: The Order in the World Spengler