Zsolt Petrányi about the Soulmate exhibition

• Now that Szabolcs Bozó’s exhibition has closed, how do you see its reception in the Hungarian fine art scene?

The reception of the exhibition was as expected. It sparked debate in the art community and the commenters were divided in their opinions: some stood by the artist, and others did not, although the latter often criticised Bozó’s work without necessarily having seen the exhibition. This was instructive for us because Bozó’s paintings belong to the category of works that cannot truly be appreciated on a phone or a computer screen but must be seen in person. The works were genuinely convincing in the exhibition space, making the show both inspiring and thought-provoking.

• What feedback did you receive from Szabolcs Bozó and Carl Kostyál regarding the Budapest exhibition?

For Szabolcs, this exhibition was an important milestone in his career, as it allowed him to present his work in Budapest, to the very audience and environment he comes from. His style and approach differ from those of Hungarian artists, but this difference is exactly what makes his career path both interesting and comparable. A frequently raised question was: what would have happened if he had stayed in Hungary? Would he have been able to emerge from the Hungarian institutional framework? The answer to this is that, on the one hand, the geographical locations of the international galleries, the Carl Kostyál Gallery’s bases in London, Milan and Stockholm greatly contributed to his development, while on the other, he was surrounded by an atmosphere of intellectual and artistic freedom in London, which allowed him to think differently than he might have under domestic conditions.

• What did the exhibition mean for the NEO Contemporary Art Space?

We crossed a boundary with the exhibition Lelki társ / Soulmate: after our video and photography shows, featuring the work of a young painter of international renown definitely meant the expansion of our scope. Displaying Szabolcs Bozó’s works was not only about introducing the Hungarian public to an artist who is successful abroad but also about presenting contemporary art management methods and a career path model.

• Kentridge, Bill Viola, Depth/Focus, and now Bozó – these were the major exhibitions at NEO in recent years. What can you say about the overall significance of these exhibitions and the trajectory they have outlined?

NEO’s aim is to introduce internationally recognised artists to the Hungarian public: artists who are defining figures in their field and can serve as a source of inspiration. This goal also anticipates the vision of the New National Gallery to be realised in the City Park since the exciting building designed by SANAA will provide the opportunity to place increasing emphasis on well-known international trends and on new media, such as video art. At the same time, NEO’s museum education team works hard to make the most of every exhibition, to make the creative methods of contemporary artists accessible to the widest possible audience and across several generations. We involve psychologists, religious historians and other specialists to embed the interpretation of art in a broader framework, demonstrating that so many aspects of human existence can be connected to the arts. The promotional background provided by the Museum of Fine Arts and Városliget Zrt. helps us to present our events to the wider public, attracting not only art lovers to NEO but also visitors interested in other questions.

• What are the criteria of selecting artists relevant both in the Hungarian and international contexts, based on which they get invited to NEO?

One of the most important criteria is the character of the given artist’s work. We seek not only well-known artists whose works the Hungarian public has long wanted to see in person but also those whose subjects and character make them inspiring and thought-provoking, capable of stirring emotion. Convincing renowned artists to exhibit here can be a challenge because their schedules are usually planned for years in advance, and the small exhibition space offered by NEO may not initially seem as attractive as the solo shows at major institutions. Still, our strong motivation has so far helped us to persuade our invitees that we curate their works along lines of genuinely interesting concepts and new perspectives, which makes it worthwhile for them to come to Budapest.

• Where have your exhibitions placed NEO on the mental map of art lovers?

Many large institutions operate smaller, independent spaces or pavilions, which allow them to realise projects that might not fit in with their main profile. They have smaller floor areas, just like NEO, but are more dynamic, able to respond more rapidly to trends and can seize opportunities that call for immediate reaction. NEO has become an important member of Budapest’s group of art venues, although many visitors still look for the location of NEO on the map. Every space like ours needs time for art enthusiasts to learn where they can find it.

• A new generation, often with a less academic background, is emerging in contemporary art, building their network and careers via the internet and social media. As a curator, how would you explain this phenomenon’s success? To what extent and in which direction has this new generational method been reshaping the Hungarian and international contemporary art scene?

Although social media has been playing an increasingly prominent role in artists’ careers since COVID and has also influenced art consumption habits, we can see that traditional forms of assessment and the judgement of experts and critics continue to play an important role in contemporary art. I am not necessarily an advocate of hierarchy, but established mechanisms of evaluation, such as winning competitions or residencies, attracting the interest of curators, appearing in major private collections and then in public ones provide artists with a much firmer foundation than likes on Instagram. So, to answer your question, I would say that these new opportunities do not reshape artists’ careers but rather broaden their horizons and provide them with independent feedback.

• What are your future plans? What exhibition/direction might come next?

We would like to continue presenting video art and video installations on the one hand, and on the other, to feature more well-known artists who explore the borderlands between art, science, technology and pop culture.