Péter Türk (1943-2015)

Visual artist. Characteristic of his life oeuvre is the medial multiplicity, the inclination for experimentation, and the structural, serial thinking. In his earliest works, he is engaged with geometric structures, and following these are his conceptual photo series defining the seventies (Class Average; Crossing into the Line, Steel Wire, Branch of a Tree, through the Tip of a Knife, into the Point, 1976). Later, he develops unique visual techniques, for instance, the so-called “phenomena”, which comprise enlarging negatives on top of each other (e.g., Psychograms, Phenomena, 1976-1979-1986). In his montages and associational series, there is an emphasis on a filmic thinking, the momentum of construction-deconstruction, building on basic elements and forms, and their analytical examination (e.g., Enlargement through Repetition, 1975-77). From 1989, as a consequence of a kind of religious turn, sacrality as viewpoint also appears in his works, and at this time, he examines various types of opposite-pairs, such as light-dark, depth-height, visible-invisible – from the perspective of faith (e.g., Under his shadow I delighted to sit, 1993-94). This new kind of thinking remains defining until the end of his life. In the 2000s, he also begins to experiment with computer programs, and the scientific curiosity that has accompanied his work from the outset until the end again becomes more marked at this time. His memorial exhibition is held at the Ludwig Museum Budapest, under the title Minden nem látszik [All Is Not Visible] in 2018.