The exhibition embraces the question of how an Eastern European artist coming from a small country can get into an international art circle? What can be done if they realize that the local art scene in their country is not globally relevant? If they do not want to create an old-fashioned and highly problematic national art, the only solution to break out is to be influenced by current trends? The exhibition focuses on the issue of how foreign currents are embedded in the international art scene, more specifically their outbursts and “misunderstandings” of the currents.
Although they (Hungarian Artists) are talking about the global information network that is heavily interwoven by the Internet, it is different what is visible here (in Hungary), a consequence of a filter system. The local contexts and the conditions of cultural centers are far away from each other in terms of material and financial possibilities, so, are their ‘tastes’ (style).
In the changing Hungarian arts establishments (system of institutions), the artist is confronted with a dilemma: remain embedded in a local context or try to think globally (which is not so simple for reason mentioned above).
In fact, the exhibition does not provide a solution to these questions, rather it presents a process of self-reflection, as this search takes place.
The central object in the exhibition is a piece of an original Yves Klein installation. The metaphor for the deliberate misunderstanding of the “precious art” is the result of a typical Central European collecting and theft passion play. It is about reverence, the pursuit of the spirit of Yves Klein, and the fetish outpouring of the artwork.