Gábor A. Nagy    *1972 Hajdúböszörmény (H). Lives & works in Berlin

available works

Blue, 2016, acrylic on canvas, 100x70cm

gabor,try harder part I,100x140cm
Try Harder Or Let Her Go, 2015, acrylic on canvas, 100x140cm

Wonderful, Wonderful Life, 2015, arylic on canvas, 100x140cm

detail view

Stuck In The Moment, 2015, acrylic on canvas, 100x140cm

Be Calm. Be Strong. Be Patient, 2013, 100x140cm, acrylic on canvas

Gabor A. Nagy, Soft Crash Coming Back, 2012, acylics on canvas, 140x400cm.300dpi
Soft Crash Coming Back, 2012, acrylics on canvas, 140×400cm

Absurdity, Come To Me!, 2011, acryl a lw,100x280cm
Absurdity, Come To Me, 2011, acrylics on canvas, 100×280cm

works in private collections

ONLY A WEEKEND AWAY,2012,acrylic on canvas,100x140 cm
Only a Weekend Away, 2012, 100x140cm, private collection, Norway

Gábor A. Nagy,I Know You`re Out There,2013, 100x140cm,acrylics on canvas
I Know You Are Out There, 2013, 100x140cm, acrylic on canvas, private collection

Gabor A. Nagy, Endorphin, 2011, Acryl a. Lw, 100x280cm
Endorphin, 2011, acrylics on canvas, 100×280cm, private collection, Berlin


The codified world which we inhabit no longer signifies process or becoming. It tells no stories, and inhabiting it does not mean acting. That it has ceased to mean this, is what is known as the crisis of values. For we are still largely programmed by texts - programmed for history, for science, for political programmes, for art. We read the world, for instance logically and mathematically. But the new generation, programmed by techno-images, no longer shares our values. And we don't yet know which meaning the techno-images surrounding us are programming for. Vilém Flusser, 1978

The break with history, as described by Flusser, is radically echoed by Gábor A. Nagy: in his paintings, all historical texts which we are potentially still programmed with are ultimately condemned to be meaningless. Composed of lyrical fragments, these paintings reduce the world to a black monochrome surface, upon which figures appear to float like ciphers - they have become an intangible motive. The paintings' revocation and negation of both image background and figuration results in a general, symbolically charged sense of distance and placelessness, that suggests an ahistorical relationship to the world. The narrative context and relationships appear to loose themselves in this blackened-out environment. Thus Nagy's images, lacking a horizon and perhaps even a space, comment on an uprooted, demystified, and hyper-technological civilisation, whose overall out-of-focus state is almost impossible to represent. Nagy rises to the challenge with comparatively archaic technical means.

Uwe Goldenstein