Text by Ágnes Flóra Ferenczi
What makes an exhibition truly special? Is it the power of the artworks, the atmosphere of the space, or the narrative that connects them? How does the raw aesthetic of an industrial setting shape the reception of the works? And what role do artistic freedom and public responsibility contribute to defining the mission of an exhibition venue? These questions find their answers in Márta Kucsora's Liminal Spaces exhibition. Upon stepping into the imposing industrial hall of Kahán Art Space Buda, situated in an industrial area of Buda, visitors are immediately captivated by the monumental paintings on display. The massive canvases, sculpturally arranged at the center of the space, appear to engage in a dialogue with their surroundings, creating a harmonious and organic unity.
But what is this space that serves as such a remarkable backdrop for Kucsora's creations? Since 2018, Kahán Art Space Pest has functioned as a contemporary art exhibition venue in Hungary, operating under the Dr. Éva Kahán Public Benefit Foundation. This foundation, established in 2015 by Zoltán Aczél in memory of his mother—a lawyer and human rights advocate committed to freedom, human rights, and artistic expression—carries forward her legacy. It provides a platform for artistic freedom and education, creating a sanctuary for self-expression. As Zoltán Aczél explains, "Our goal was to create spaces where freedom is perhaps the most important value."
The foundation initially focused on supporting disadvantaged Roma and other minority law students through scholarships. Over time, its mission expanded to include supporting young, emerging visual and applied artists from underrepresented groups, including those defined by gender, culture, ethnicity, or social background. The foundation operates exhibition spaces under the name Kahán Art Space in both Budapest and Vienna—cities chosen deliberately for their significant connections to the life of Dr. Éva Kahán. In Budapest, alongside the original venue on Nagy Diófa Street, a new space was opened this fall in the Gyapot Street building in Buda. This new exhibition venue is not only distinctive but also steeped in fascinating history. Situated on the former grassy airfield of the Hungarian Airship and Aircraft Factory, it occupies a modernist industrial hall built in the 1960s. The hall has been revitalized by the Minusplus architectural firm, which preserved its original architectural character while introducing contemporary elements. Now spanning 300 square meters with an 8-meter ceiling height and featuring a state-of-the-art lighting system, the space is perfectly suited for displaying monumental installations and sculptural works.
The inaugural exhibition at the new space, Márta Kucsora's Liminal Spaces, embodies the core principles of Kahán Art Space, with a strong emphasis on gender equality and the support of women artists. For decades, women in the arts encountered substantial obstacles. They were frequently excluded from art academies, and galleries rarely welcomed their work. Many women artists faced a lifetime of struggle for recognition, with some only achieving the acknowledgment they deserved after their death. While progress has been made and more women artists are gaining visibility today, the statistics remain a stark reminder of ongoing challenges. According to the 2024 Art Market Report by Art Basel and UBS, only 30–39% of demand for artworks in 2023 was directed toward works by women artists. This underscores the persistent challenges women face in achieving parity with their male counterparts in the art world. Kucsora’s career similarly exemplifies the unique difficulties encountered by female artists from Central and Eastern Europe
Márta Kucsora, born in 1979 in Szeged, Hungary, studied at the Hungarian University of Fine Arts and Montclair State University in the United States. Her work, which merges the traditions of abstract expressionism with innovative technical approaches, is characterized by its large-scale compositions. However, her path to success was far from smooth. Early in her career, Kucsora faced significant challenges, grappling with both societal constraints and limited resources. Shared studios in Hungary were overcrowded, access to materials and tools was scarce, and experimental, avant-garde ideas often met resistance. Additionally, Budapest's geographical and cultural distance from major art hubs posed further barriers to entering the international art scene, where markets and professional networks were more accessible. Despite these obstacles, Kucsora persevered and ultimately broke through. A pivotal moment came in 2021 with an exhibition in New York at the Postmasters Gallery, which marked the beginning of her rise to international recognition. Since then, her work has been showcased in numerous esteemed galleries and institutions, including the Kepes Institute in Eger, Patricia Low Contemporary in Switzerland, CoBrA Gallery in Shanghai, and Kunsthalle Budapest. Her paintings are also held in prominent collections such as the Deji Art Museum in China, and the 21C Museum in the United States.
Márta Kucsora's work is currently featured in three exhibitions, highlighting her rising prominence in the art world. Her solo exhibition, Never Step into the Same River Twice, at CoBrA Gallery in Shanghai, showcases a decade of her artistic journey and marks her first solo show in Asia. It is interesting to observe how different organizing principles guide both international and domestic exhibitions. International exhibitions often center on the artist's unique vision and universal artistic values, while domestic exhibitions explore these aspects as well, but with additional emphasis on themes connected to the Central and Eastern European experience. This thematic focus is particularly evident in her Spacemaking exhibition at the Kepes Institute in Eger, where her work is showcased alongside that of Vera Molnar, Judit Reigl, and Kati Vilim. The exhibition in Eger holds special importance, as it not only celebrates the contributions of women artists but also sheds light on the historical and social challenges faced by creators from Central and Eastern Europe. The careers of Vera Molnar and Judit Reigl illustrate how, after the hardships of World War II, these women artists were able to achieve the creative freedom essential for their growth and international success only by relocating to Western Europe, particularly France. Sadly, many of these struggles remain relevant today. Institutions like Kahán Art Space and the Kepes Institute share a vital mission: to champion artists from the Eastern European region and actively support women artists by providing them with platforms to exhibit their work and gain the recognition they deserve.
Upon entering the imposing industrial space of Kahán Art Space Buda, Márta Kucsora's immense canvases immediately capture attention. Instead of being traditionally mounted on the walls, the paintings rise from the center of the room, creating a three-dimensional, almost sculptural experience. This presentation is exceptionally well-suited to the space, as the canvases resonate harmoniously with the openness and raw aesthetic of the industrial environment. While innovative, this approach is not entirely unprecedented. Similar spatial dynamics can be observed in Richard Serra's monumental sculptures, in Bosco Sodi’s installations and in the works of Katharina Grosse and Sam Gilliam, where the interplay between the artwork and its surrounding space is integral. Kucsora's works naturally align with this artistic dialogue. Their massive scale not only makes them visually striking but also gives them a commanding, physical presence. "I’m especially intrigued by these enormous surfaces," she explains, "because they allow me to confront my physical limitations and experience the power embedded in their sheer size—a statement that demands attention."
The works featured in the exhibition transcend the traditional boundaries of painting, a concept that lies at the heart of the exhibition’s central message. The overarching theme is the crossing of borders, the exploration of liminal spaces, and, through this, the discovery of new possibilities in painting. What does it mean to cross boundaries? How does painting evolve when its traditional tools are abandoned? These questions resonate throughout every aspect of the exhibition. In Kucsora’s work, the creative process is not only highly intriguing but also fundamentally different from conventional painting techniques. The artist utilizes unique combinations of water-based paints with varying densities, additives, copper powder, and lacquer to craft her pieces. Eschewing traditional brushes, she applies these materials to canvases laid flat on the ground, using methods such as splashing, pouring, and spraying. During the process, the paints interact chemically, while gravity, movement, and the drying process collaboratively shape the final outcome. "Although this might initially seem chaotic, every detail of my paintings is meticulously planned. The process is akin to a performance; there’s a four-to-five-hour window during which the materials can be manipulated and shaped," she explains. Every aspect, from the level of detail in the final result to the amount of paint flow or the angle at which the canvas is tilted, is an entirely deliberate decision. Sometimes she wets the surface, while at other times she uses a fan or hairdryer to control the drying process. Without the use of a brush, it’s not always possible to predict with absolute precision whether a form will appear exactly where intended or a few centimeters away. Yet, this unpredictability lies at the heart of abstract painting—a balance of creative freedom and spontaneity. The interplay between intentionality and spontaneity in Kucsora’s work is partly influenced by her former teacher, Attila Kovács. His art, which delves into systems and structures, often highlights the tension between order and chaos—a perspective that has left a profound mark on Kucsora's creative approach.
A closer examination of the paintings reveals fascinating patterns, textures, and shapes that seem to come alive. The canvases evoke a sense of nature in motion, bringing to mind tectonic plate shifts, ocean currents, or aerial landscapes. These abstract, dynamic works explore the interconnectedness of the micro and macro worlds, a theme that necessitates their monumental scale. "As I mentioned earlier, size is incredibly important. To truly immerse ourselves in the infinite expanse of the micro- and macrocosm, we need dimensions that transcend the everyday. This scale allows us to journey from subatomic realms to the vastness of planetary systems," she explains. Indeed, experiencing these enormous paintings feels like embarking on an endless journey, simultaneously delving into the details of the microcosm and the vast expanses of the macrocosm. The dynamic patterns create a serene, meditative experience, inviting viewers to lose themselves in their boundless complexity.
A standout feature of the exhibition is the inclusion of a video work alongside Kucsora’s paintings. Titled BEAUTIFUL ERROR (2022), it creates a compelling contrast with the physicality of the paintings. While the paintings have a tangible, enduring presence, the digital video embodies an intangible, fluid, and ever-changing nature. By blending these two fundamentally different mediums, Kucsora offers viewers fresh interpretative possibilities. The movement of the paints in the video evokes imagery of melting polar ice caps. The work delivers a powerful ecological message, reflecting on humanity’s self-destructive tendencies and the environmental damage caused by human activity. It serves as both a cautionary tale and a symbol of hope. While it underscores the imminent threats to ecological balance, it also highlights nature’s extraordinary capacity for renewal. This duality prompts deep reflection. Are we capable of recognizing our responsibility for the destruction of nature? Perhaps this is why the work resonates so strongly on an emotional level: it shows that hope remains—if we choose to act not as passive observers but as active participants in safeguarding the environment.
The Liminal Spaces exhibition runs from September 20 to December 19 and can be visited by appointment Monday through Thursday, between 10:00 am and 4:00 pm.
LIMINAL SPACES - Márta Kucsora
Kahán Art Space Buda
Address: Gyapot utca 4, Budapest, 1116.
September 20 – December 19, 2024
Curator: Viola Lukács