{"id":649,"date":"2019-06-03T19:02:44","date_gmt":"2019-06-03T17:02:44","guid":{"rendered":"https:\/\/instytutpolski.pl\/budapeszt\/?p=649"},"modified":"2019-06-11T21:40:55","modified_gmt":"2019-06-11T19:40:55","slug":"platan20-peter-gemes-waterline","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/","title":{"rendered":"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline"},"content":{"rendered":"\n

Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.<\/b><\/p>\n

Friday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm<\/p>\n

Plat\u00e1n Gallery<\/p>\n

Budapest, VI. Andr\u00e1ssy \u00fat 32.<\/p>\n\n\n\n

Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.<\/strong><\/p>\n

\u00a0<\/p>\n

PLAT\u00c1N20<\/strong><\/p>\n

P\u00e9ter G\u00e9mes\u00a0Waterline<\/strong><\/p>\n

\u00a0<\/p>\n

The Polish Institute in Budapest cordially invites You to the vernissage of the exhibition<\/em>
PLAT\u00c1N20<\/em>
P\u00e9ter G\u00e9mes\u00a0Waterline<\/em>
celebrating the 20th\u00a0anniversary of the founding of Plat\u00e1n Gallery<\/em>
at 6 p.m. on Friday, 8th\u00a0of March 2019, at the Plat\u00e1n Gallery.<\/em>
Celebratory remarks: Joanna Urba\u0144ska, director of the Polish Institute and Barbara Wiechno, former director of the Polish Institute (1997-2001)<\/em>
Opening speech: M\u00e1rta Kovalovszky, art historian<\/em><\/p>\n

\u00a0<\/p>\n

2019 is an important year in the history of the Polish Institute in Budapest, as it marks two anniversaries at once: the institute was established 80 years ago, while its gallery of contemporary art, Plat\u00e1n celebrates its 20th\u00a0anniversary. Plat\u00e1n Gallery opened its doors in 1999 at a venue on Andr\u00e1ssy Avenue that used to accommodate a popular Polish store. Its name is an allusion to the famous plane trees (Platanus) of Budapest, indicating that the gallery was meant to be a long-term enterprise. Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th\u00a0anniversary of the founding of the gallery.<\/p>\n

\u201eWill P\u00e9ter G\u00e9mes’ art remain indelible in the History of modern art? I personally believe so. But probably much more important than any future judgement is our common experience as those lucky enough to exist somewhere in Central Europe at the end of the twentieth century. Here I think of the joy of common existence with such a righteous, wise and sensitive man in a white cap who could perceive the world with the critical distance of an old mandarin. A man who helped us find the ineffable meaning of this strange world. A man for whom art and goodness, so rare these days, constituted unity.\u201d Jacek Werbanowski<\/p>\n

P\u00e9ter G\u00e9mes\u00a0–\u00a0Born on 11th April 1951 in Budapest. He attended the High School of Art in Budapest Between 1965 and 1969, then graduated at the School of Window Dressing. Between 1972 and 1976 he was a student at the Academy of Fine Arts in Warsaw, Graphics Department, a pupil of Stanis\u0142aw Pozna\u0144ski and graduated with honours. In 1978\u201379 he received a scholarship from the Ministry of Culture for preparing lithographs at the Warsaw Academy. He was a member of the Studio of Young Artists from 1980, between 1984 and 1985 a member of Studio\u2019s Directorate. Between 1985 and 1988 he received Derkovits\u2019 scholarship; in 1986 he was awarded for the\u00a0Polish Culture prize; in 1987 received a performance prize; in 1989 won the\u00a0B\u00e9la Kondor contest\u00a0at the XV. National Biennial of Graphics; in 1990 received a scholarship of the Hungarian Academy in Rome, Italy; in 1994 received the\u00a0Munk\u00e1csy-prize. From 1989 he was a lecturer at the Hungarian School of Applied Arts, the Visual Studies Atelier. He died on 22nd October 1996.<\/p>\n

The exhibition is on view from 11. March until 17. April 2019, on Mondays to Fridays from 10 am to 7 pm.<\/p>\n

The exhibition is in the official program of Budapest Photo Festival.<\/p>\n

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\u00a0<\/p>\n

Kovalovszky M\u00e1rta megnyit\u00f3 besz\u00e9de<\/strong><\/h3>\n

Kovalovszky M\u00e1rta<\/strong><\/p>\n

PLAT\u00c1N20<\/strong><\/p>\n

G\u00c9MES P\u00c9TER: V\u00edzvonal<\/strong><\/p>\n

H\u00fasz \u00e9vvel ezel\u0151tt G\u00e9mes P\u00e9ter ki\u00e1ll\u00edt\u00e1s\u00e1val ny\u00edlt meg a Lengyel Int\u00e9zet Plat\u00e1n Gal\u00e9ri\u00e1ja. A m\u0171v\u00e9sz 1972-1976 k\u00f6z\u00f6tt a vars\u00f3i K\u00e9pz\u0151m\u0171v\u00e9szeti\u00a0 F\u0151iskola n\u00f6vend\u00e9ke volt, 1979-ben \u00f6szt\u00f6nd\u00edjjal \u00fajra visszat\u00e9rt Vars\u00f3ba. Eg\u00e9sz \u00e9let\u00e9ben szoros sz\u00e1lak f\u0171zt\u00e9k ezekhez a tanul\u00f3\u00e9vekhez, a lengyel kult\u00far\u00e1hoz, sok munk\u00e1j\u00e1t lengyel m\u00fazeumok \u00e9s lengyel bar\u00e1tok \u0151rzik. Els\u0151 ki\u00e1ll\u00edt\u00e1s\u00e1t 1981-ben Budapesten, az akkori Lengyel T\u00e1j\u00e9koztat\u00e1si \u00e9s Kultur\u00e1lis k\u00f6zpontban rendezte. Nem v\u00e9letlen teh\u00e1t, ha a mostani jubileum alkalm\u00e1val az \u0151 egyik legfontosabb munk\u00e1j\u00e1ra esett a Plat\u00e1n Gal\u00e9ria v\u00e1laszt\u00e1sa.<\/em><\/p>\n

G\u00e9mes P\u00e9ter gondolkod\u00e1s\u00e1t \u00e9s k\u00e9pvil\u00e1g\u00e1t alapvet\u0151en k\u00e9t nagy kult\u00fara alak\u00edtotta. A p\u00e1lya els\u0151 szakasz\u00e1ban a kereszt\u00e9ny ikonogr\u00e1fia mot\u00edvumaib\u00f3l \u00e9p\u00edtkezett, k\u00e9s\u0151bb, a V\u00edzvonal k\u00e9sz\u00fcl\u00e9se idej\u00e9n az antik filoz\u00f3fia, els\u0151sorban Herakleitosz szelleme vezette. Bizonyos, hogy m\u0171v\u00e9szeti \u00e9rz\u00e9kenys\u00e9g\u00e9t \u00e9s eg\u00e9sz \u00e9rett gondolkod\u00e1s\u00e1t a vars\u00f3i k\u00e9pz\u0151m\u0171v\u00e9szeti akad\u00e9mia filoz\u00f3fia-tanulm\u00e1nyai \u00f6szt\u00f6n\u00f6zt\u00e9k, j\u00f3t\u00e9konyan \u00e9s sikerrel \u00f6szt\u00f6n\u00f6zve \u0151t egyre \u00fajabb k\u00e9pek teremt\u00e9s\u00e9re \u00e9s a vil\u00e1g jelens\u00e9geinek \u00e9rtelmez\u00e9s\u00e9re.<\/em><\/p>\n

A V\u00edzvonal cim\u0171 kompoz\u00edci\u00f3 G\u00e9mes P\u00e9ter \u00e9s az 1980-90-es esztend\u0151k magyar m\u0171v\u00e9szet\u00e9nek f\u0151m\u0171vei k\u00f6z\u00e9 tartozik.\u00a0 Keletkez\u00e9s\u00e9nek idej\u00e9n nem csup\u00e1n n\u00e1lunk, de az egyetemes m\u0171v\u00e9szetben is jelent\u0151s v\u00e1ltoz\u00e1sok zajlottak.\u00a0 A m\u0171v\u00e9szeti szabads\u00e1gharcok ut\u00e1n \u00e1trendez\u0151d\u00f6tt a terep, a posztmodern korszak v\u00e9get \u00e9rt, a klasszikus m\u0171v\u00e9szeti trad\u00edc\u00f3 elvesz\u00edtette erej\u00e9t, az \u00faj m\u00e9diumok gyorsan \u00e9s ellen\u00e1llhatatlanul t\u00f6rtek el\u0151re, nyomukban \u00faj gondolkod\u00e1s, \u00faj m\u0171fajok, \u00faj form\u00e1k, \u00faj besz\u00e9dm\u00f3d sarjadt ki \u00e9s indult vir\u00e1gz\u00e1snak.<\/em><\/p>\n

G\u00e9mes az itt bemutatott m\u0171 k\u00e9sz\u00edt\u00e9s\u00e9nek idej\u00e9n m\u00e1r nem volt p\u00e1lyakezd\u0151. T\u00f6bb, mint egy \u00e9vtizedes m\u0171v\u00e9szi tev\u00e9kenys\u00e9g\u00e9ben sokat hasznos\u00edtott vars\u00f3i tanulm\u00e1nyainak tapasztalataib\u00f3l. Kialak\u00edtott egy saj\u00e1tos k\u00e9pi vil\u00e1got, amelyben az elmos\u00f3d\u00f3, dereng\u0151 figur\u00e1k gesztusai, cselekedetei els\u00fcllyedt kult\u00far\u00e1k rejt\u00e9lyes eml\u00e9k\u00e9t id\u00e9zt\u00e9k f\u00f6l. Legfontosabb eszk\u00f6zei a sz\u00f3r\u00f3pisztoly \u00e9s a f\u00e9ny\u00e9rz\u00e9keny fot\u00f3v\u00e1szon voltak, a l\u00e1mpaf\u00e9nnyel \u201efestett\u201d.<\/em><\/p>\n

Az 1970-es \u00e9vtized hazai m\u0171v\u00e9szet\u00e9ben\u00a0\u00a0 a fot\u00f3nak, a fotogramnak kiv\u00e9telesen fontos szerep jutott, miut\u00e1n a k\u00e9p-alkot\u00e1s hagyom\u00e1nyos eszk\u00f6zeinek ereje megkopott, ezek viszont \u00faj szempontokat, kihaszn\u00e1latlan lehet\u0151s\u00e9geket biztositottak a m\u0171v\u00e9szek sz\u00e1m\u00e1ra. Erd\u00e9ly Mikl\u00f3st\u00f3l Maurer D\u00f3r\u00e1n \u00e1t Baranyay Andr\u00e1sig sokan \u00e9s sok ter\u00fcleten, sokf\u00e9le c\u00e9llal haszn\u00e1lt\u00e1k a fot\u00f3-elj\u00e1r\u00e1sokat. Az \u00e9vtized n\u00e9h\u00e1ny jelent\u0151s ki\u00e1ll\u00edt\u00e1sa (Expoz\u00edci\u00f3, 1976, Fot\u00f3gramok, 1979) igazolta az alkot\u00f3kat, akik\u00a0 b\u00e1tran b\u0151v\u00edtett\u00e9k ezzel a k\u00e9pz\u0151m\u0171v\u00e9szet eszk\u00f6zt\u00e1r\u00e1t \u00e9s lehet\u0151s\u00e9geit. G\u00e9mes ezeken a ki\u00e1ll\u00edt\u00e1sokon nem szerepelt, de maga a fot\u00f3, mint \u00faj m\u00e9dium \u2013 ha m\u00e1sk\u00e9ppen is –\u00a0 \u00e9rdekelte: seg\u00edts\u00e9g\u00e9vel, juthatott k\u00f6zelebb az \u0151t \u00e9get\u0151 k\u00e9rd\u00e9sekhez, \u00e1ltala juthatott egyre m\u00e9lyebbre.<\/em><\/p>\n

Jacek Werbanowski lengyel m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9sz egy \u00edr\u00e1s\u00e1ban \u00fagy fogalmazott, hogy G\u00e9mes P\u00e9ter egy mandarin t\u00e1vols\u00e1gtart\u00e1s\u00e1val szeml\u00e9lte a vil\u00e1got. \u00c9n nem \u00edgy gondolom. \u00c9s nincs tal\u00e1n senki, aki szemk\u00f6zt \u00e1llva ebben a teremben a V\u00edzvonal kompoz\u00edci\u00f3j\u00e1val, ne h\u00fcmm\u00f6gne Werbanowski szavain: t\u00e1vols\u00e1gtart\u00e1s? h\u00e1t\u2026.Mert igaz, a figur\u00e1k valami h\u0171v\u00f6s k\u00f6zegben lebegnek, a karok, t\u00f6rzsek \u00e9s l\u00e1bak dallamos \u00edve k\u00f6nnyed\u00e9n hull\u00e1mzik a t\u00e9rben, a testek \u00e1rny\u00e9kk\u00e9nt suhannak el a szem\u00fcnk el\u0151tt. De l\u00e1ttukon a n\u00e9z\u0151 azon is elt\u0171n\u0151dhet, mi ezeknek az egym\u00e1sba \u00e9r\u0151, egym\u00e1st foytat\u00f3 mozdulatoknak igazi helysz\u00edne? Aki ehhez a k\u00e9rd\u00e9shez k\u00f6zel\u00edt, az a m\u0171 \u2013 \u00e9s m\u00e1s G\u00e9mes-m\u0171vek – legfontosabb r\u00e9teg\u00e9be pillanthat be a mindent \u00e1that\u00f3 szem\u00e9lyess\u00e9g m\u00e9ly\u00e9re.<\/em><\/p>\n

A V\u00edzvonal fontos s\u0171r\u00fcs\u00f6d\u00e9si pont az \u00e9letm\u0171ben. G\u00e9mes ekkorra a fot\u00f3, a fotogram seg\u00edts\u00e9g\u00e9vel megtal\u00e1lt valamit, ami fel\u00e9 a k\u00e9pek sz\u00e1nd\u00e9kosan hom\u00e1lyban hagyott jelenetei m\u00e1r tapogat\u00f3ztak. Az elmos\u00f3d\u00f3 alakok k\u00f6r\u00fcli semmi helyett\u00a0 sokat sejtet\u0151, vagy a dolgokat \u00e9lesen-hat\u00e1rozottan kimon\u00f3, letisztult k\u00e9pform\u00e1ra, nyitott kompoz\u00edci\u00f3ra tal\u00e1lt.\u00a0 Most a kompoz\u00edci\u00f3 utols\u00f3 darabj\u00e1n az \u00fasz\u00f3 alak \u2013 ak\u00e1r a versenyz\u0151, miut\u00e1n meg\u00e9rintette a\u00a0 medence fal\u00e1t \u2013 megfordul \u00e9s visszafel\u00e9 folytatja \u00fatj\u00e1t\u00a0 a v\u00edzben. A mozg\u00e1snak nincsen c\u00e9lja, vagy: a c\u00e9l maga a mozg\u00e1s, mely nem \u00e9r\u00a0 v\u00e9get az els\u0151 \u00e9s utols\u00f3 k\u00e9pben; gondolatban, k\u00e9pzeletben \u00fajrakezd\u0151dik.<\/em><\/p>\n

Az alakok k\u00f6z\u00f6tti m\u00e9lybe nem k\u00f6nny\u0171 belel\u00e1tni: mintha a m\u0171v\u00e9sz j\u00f3t\u00e9kony k\u00f6df\u00fcgg\u00f6nyt vonna szem\u00fcnk el\u00e9, melynek gyeng\u00e9den \u00e1ttetsz\u0151 anyaga m\u00f6g\u00f6tt \u00e9ppen csak felsejlik a jelens\u00e9gek igazi tartalma, a form\u00e1k igazi jelent\u00e9se. Aki belefeledkezik a l\u00e1tv\u00e1nyba, aki pillant\u00e1s\u00e1val k\u00f6veti az \u00fasz\u00f3k mozg\u00e1s\u00e1t, a karok \u00e9s l\u00e1bak koreogr\u00e1fi\u00e1j\u00e1ba mer\u00fclve \u00e9s szinte a b\u0151r\u00e9n \u00e9rezve a v\u00edz (vagy a leveg\u0151?) h\u0171v\u00f6s\u00e9t, az egyszersmind \u00e1lom \u00e9s \u00e9brenl\u00e9t, \u00e9let \u00e9s hal\u00e1l ismeretlen k\u00f6zeg\u00e9vel tal\u00e1lkozik, neh\u00e9z, megv\u00e1laszolhatatlan k\u00e9rd\u00e9sekkel\u00a0 szembes\u00fcl.<\/em><\/p>\n

B\u00e1r olykor m\u00e1s G\u00e9mes-m\u0171vekben is (Auto-\u00e9tude, 1981; M\u0171holdas est, 1991) r\u00e1ismerhet\u00fcnk a V\u00edzvonal h\u0171s \u00e9s rejt\u00e9lyes atmoszf\u00e9r\u00e1j\u00e1ra, l\u00e1tnunk kell: a V\u00edzvonal atmoszf\u00e9r\u00e1n\u00e1l sokkal t\u00f6bb; k\u00edm\u00e9letlen\u00fcl \u00e9s k\u00f6vetkezetesen fogja egybe az egyszer\u0171 k\u00e9pi megjelen\u00edt\u00e9st a filoz\u00f3fia v\u00e9gs\u0151, sz\u00f3 szerint \u00e9letbe v\u00e1g\u00f3 k\u00e9rd\u00e9seivel. Az \u00e9letnek \u00e9s a hal\u00e1lnak, a l\u00e9tez\u00e9s\u00a0 \u00e9s a semmi oly k\u00f6nnyednek l\u00e1tsz\u00f3, de\u00a0 v\u00e9gletesen s\u00falyos megfogalmaz\u00e1sa bujk\u00e1l a V\u00edzvonal figur\u00e1i k\u00f6z\u00f6tt, a megfoghatatlan, v\u00e9ge\u00e9rhetetlen k\u00f6zegben. A testek lebegnek; beleny\u00fajt\u00f3znak az \u00fasz\u00e1s mozdulataiba, s\u00falytalan k\u00f6nny\u0171s\u00e9ggel k\u00f6vetik egym\u00e1st. Emelkednek \u00e9s s\u00fcllyednek az \u00e1ttetsz\u0151, meghat\u00e1rozhatatlan, k\u00f6ztes semmiben, \u00e9brenl\u00e9t s \u00e1lom, jelen\u00e9s \u00e9s val\u00f3s\u00e1g v\u00e1laszt\u00f3vonal\u00e1n, a \u201ev\u00edzvonalon\u201d, amely jelzi \u2013 ak\u00e1r a haj\u00f3k oldal\u00e1ra festett vonal \u2013 a k\u00f6z\u00f6tt\u00fck l\u00e9v\u0151 hat\u00e1rt. A \u201ev\u00edzvonal\u201d\u00a0 tal\u00e1n maga a testek k\u00f6z\u00f6tt hull\u00e1mz\u00f3 \u2013 hogy \u00e9l\u0151k-e vagy holtak, nem tudjuk – , ak\u00e1r a plat\u00e1nfa sz\u00e1rnyas term\u00e9se forog a leveg\u0151be, ha elkapja a sz\u00e9l.<\/em><\/p>\n

A V\u00edzvonal-kompoz\u00edci\u00f3 l\u00e1tt\u00e1n mindannyiszor esz\u00fcnkbe juthat a Herakleitosz-t\u00f6red\u00e9k, amelyet D\u00e9kei Kriszta id\u00e9z G\u00e9mes P\u00e9terr\u0151l \u00edrott cikk\u00e9ben: \u201d Hal\u00e1l mind, amit \u00e9bren l\u00e1tunk, \u00e9s mind, amennyit alva, \u00e1lom.\u201d<\/em><\/p>\n

Elhangzott a ki\u00e1ll\u00edt\u00e1s megnyit\u00f3j\u00e1n, 2019. m\u00e1rcius 8-\u00e1n, a Plat\u00e1n Gal\u00e9ri\u00e1ban.<\/p>\n\n\n\n

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    Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery. Friday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm […]<\/p>\n","protected":false},"author":1,"featured_media":630,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[134],"tags":[],"class_list":["post-649","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions"],"yoast_head":"\nPLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline - Instytut Polski w Budapeszcie<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline - Instytut Polski w Budapeszcie\" \/>\n<meta property=\"og:description\" content=\"Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery. Friday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Budapeszcie\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-03T17:02:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-06-11T19:40:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"350\" \/>\n\t<meta property=\"og:image:height\" content=\"119\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"sienkiewiczl.disabled\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"sienkiewiczl.disabled\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/\",\"url\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/\",\"name\":\"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\",\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet-300x102.jpg\",\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\",\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\",\"datePublished\":\"2019-06-03T17:02:44+02:00\",\"dateModified\":\"2019-06-11T19:40:55+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/0d8a0025312a17e346e67e3c446cf459\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2019-03-08\",\"endDate\":\"2019-04-17\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.\\nFriday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm\\nPlat\u00e1n Gallery\\nBudapest, VI. Andr\u00e1ssy \u00fat 32.\\nPlat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.\\n\u00a0\\nPLAT\u00c1N20\\nP\u00e9ter G\u00e9mes\u00a0Waterline\\n\u00a0\\nThe Polish Institute in Budapest cordially invites You to the vernissage of the exhibitionPLAT\u00c1N20P\u00e9ter G\u00e9mes\u00a0Waterlinecelebrating the 20th\u00a0anniversary of the founding of Plat\u00e1n Galleryat 6 p.m. on Friday, 8th\u00a0of March 2019, at the Plat\u00e1n Gallery.Celebratory remarks: Joanna Urba\u0144ska, director of the Polish Institute and Barbara Wiechno, former director of the Polish Institute (1997-2001)Opening speech: M\u00e1rta Kovalovszky, art historian\\n\u00a0\\n2019 is an important year in the history of the Polish Institute in Budapest, as it marks two anniversaries at once: the institute was established 80 years ago, while its gallery of contemporary art, Plat\u00e1n celebrates its 20th\u00a0anniversary. Plat\u00e1n Gallery opened its doors in 1999 at a venue on Andr\u00e1ssy Avenue that used to accommodate a popular Polish store. Its name is an allusion to the famous plane trees (Platanus) of Budapest, indicating that the gallery was meant to be a long-term enterprise. Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th\u00a0anniversary of the founding of the gallery.\\n\u201eWill P\u00e9ter G\u00e9mes' art remain indelible in the History of modern art? I personally believe so. But probably much more important than any future judgement is our common experience as those lucky enough to exist somewhere in Central Europe at the end of the twentieth century. Here I think of the joy of common existence with such a righteous, wise and sensitive man in a white cap who could perceive the world with the critical distance of an old mandarin. A man who helped us find the ineffable meaning of this strange world. A man for whom art and goodness, so rare these days, constituted unity.\u201d Jacek Werbanowski\\nP\u00e9ter G\u00e9mes\u00a0-\u00a0Born on 11th April 1951 in Budapest. He attended the High School of Art in Budapest Between 1965 and 1969, then graduated at the School of Window Dressing. Between 1972 and 1976 he was a student at the Academy of Fine Arts in Warsaw, Graphics Department, a pupil of Stanis\u0142aw Pozna\u0144ski and graduated with honours. In 1978\u201379 he received a scholarship from the Ministry of Culture for preparing lithographs at the Warsaw Academy. He was a member of the Studio of Young Artists from 1980, between 1984 and 1985 a member of Studio\u2019s Directorate. Between 1985 and 1988 he received Derkovits\u2019 scholarship; in 1986 he was awarded for the\u00a0Polish Culture prize; in 1987 received a performance prize; in 1989 won the\u00a0B\u00e9la Kondor contest\u00a0at the XV. National Biennial of Graphics; in 1990 received a scholarship of the Hungarian Academy in Rome, Italy; in 1994 received the\u00a0Munk\u00e1csy-prize. From 1989 he was a lecturer at the Hungarian School of Applied Arts, the Visual Studies Atelier. He died on 22nd October 1996.\\nThe exhibition is on view from 11. March until 17. April 2019, on Mondays to Fridays from 10 am to 7 pm.\\nThe exhibition is in the official program of Budapest Photo Festival.\\n\u00a0\\nKovalovszky M\u00e1rta megnyit\u00f3 besz\u00e9de\\nKovalovszky M\u00e1rta\\nPLAT\u00c1N20\\nG\u00c9MES P\u00c9TER: V\u00edzvonal\\nH\u00fasz \u00e9vvel ezel\u0151tt G\u00e9mes P\u00e9ter ki\u00e1ll\u00edt\u00e1s\u00e1val ny\u00edlt meg a Lengyel Int\u00e9zet Plat\u00e1n Gal\u00e9ri\u00e1ja. A m\u0171v\u00e9sz 1972-1976 k\u00f6z\u00f6tt a vars\u00f3i K\u00e9pz\u0151m\u0171v\u00e9szeti\u00a0 F\u0151iskola n\u00f6vend\u00e9ke volt, 1979-ben \u00f6szt\u00f6nd\u00edjjal \u00fajra visszat\u00e9rt Vars\u00f3ba. Eg\u00e9sz \u00e9let\u00e9ben szoros sz\u00e1lak f\u0171zt\u00e9k ezekhez a tanul\u00f3\u00e9vekhez, a lengyel kult\u00far\u00e1hoz, sok munk\u00e1j\u00e1t lengyel m\u00fazeumok \u00e9s lengyel bar\u00e1tok \u0151rzik. Els\u0151 ki\u00e1ll\u00edt\u00e1s\u00e1t 1981-ben Budapesten, az akkori Lengyel T\u00e1j\u00e9koztat\u00e1si \u00e9s Kultur\u00e1lis k\u00f6zpontban rendezte. Nem v\u00e9letlen teh\u00e1t, ha a mostani jubileum alkalm\u00e1val az \u0151 egyik legfontosabb munk\u00e1j\u00e1ra esett a Plat\u00e1n Gal\u00e9ria v\u00e1laszt\u00e1sa.\\nG\u00e9mes P\u00e9ter gondolkod\u00e1s\u00e1t \u00e9s k\u00e9pvil\u00e1g\u00e1t alapvet\u0151en k\u00e9t nagy kult\u00fara alak\u00edtotta. A p\u00e1lya els\u0151 szakasz\u00e1ban a kereszt\u00e9ny ikonogr\u00e1fia mot\u00edvumaib\u00f3l \u00e9p\u00edtkezett, k\u00e9s\u0151bb, a V\u00edzvonal k\u00e9sz\u00fcl\u00e9se idej\u00e9n az antik filoz\u00f3fia, els\u0151sorban Herakleitosz szelleme vezette. Bizonyos, hogy m\u0171v\u00e9szeti \u00e9rz\u00e9kenys\u00e9g\u00e9t \u00e9s eg\u00e9sz \u00e9rett gondolkod\u00e1s\u00e1t a vars\u00f3i k\u00e9pz\u0151m\u0171v\u00e9szeti akad\u00e9mia filoz\u00f3fia-tanulm\u00e1nyai \u00f6szt\u00f6n\u00f6zt\u00e9k, j\u00f3t\u00e9konyan \u00e9s sikerrel \u00f6szt\u00f6n\u00f6zve \u0151t egyre \u00fajabb k\u00e9pek teremt\u00e9s\u00e9re \u00e9s a vil\u00e1g jelens\u00e9geinek \u00e9rtelmez\u00e9s\u00e9re.\\nA V\u00edzvonal cim\u0171 kompoz\u00edci\u00f3 G\u00e9mes P\u00e9ter \u00e9s az 1980-90-es esztend\u0151k magyar m\u0171v\u00e9szet\u00e9nek f\u0151m\u0171vei k\u00f6z\u00e9 tartozik.\u00a0 Keletkez\u00e9s\u00e9nek idej\u00e9n nem csup\u00e1n n\u00e1lunk, de az egyetemes m\u0171v\u00e9szetben is jelent\u0151s v\u00e1ltoz\u00e1sok zajlottak.\u00a0 A m\u0171v\u00e9szeti szabads\u00e1gharcok ut\u00e1n \u00e1trendez\u0151d\u00f6tt a terep, a posztmodern korszak v\u00e9get \u00e9rt, a klasszikus m\u0171v\u00e9szeti trad\u00edc\u00f3 elvesz\u00edtette erej\u00e9t, az \u00faj m\u00e9diumok gyorsan \u00e9s ellen\u00e1llhatatlanul t\u00f6rtek el\u0151re, nyomukban \u00faj gondolkod\u00e1s, \u00faj m\u0171fajok, \u00faj form\u00e1k, \u00faj besz\u00e9dm\u00f3d sarjadt ki \u00e9s indult vir\u00e1gz\u00e1snak.\\nG\u00e9mes az itt bemutatott m\u0171 k\u00e9sz\u00edt\u00e9s\u00e9nek idej\u00e9n m\u00e1r nem volt p\u00e1lyakezd\u0151. T\u00f6bb, mint egy \u00e9vtizedes m\u0171v\u00e9szi tev\u00e9kenys\u00e9g\u00e9ben sokat hasznos\u00edtott vars\u00f3i tanulm\u00e1nyainak tapasztalataib\u00f3l. Kialak\u00edtott egy saj\u00e1tos k\u00e9pi vil\u00e1got, amelyben az elmos\u00f3d\u00f3, dereng\u0151 figur\u00e1k gesztusai, cselekedetei els\u00fcllyedt kult\u00far\u00e1k rejt\u00e9lyes eml\u00e9k\u00e9t id\u00e9zt\u00e9k f\u00f6l. Legfontosabb eszk\u00f6zei a sz\u00f3r\u00f3pisztoly \u00e9s a f\u00e9ny\u00e9rz\u00e9keny fot\u00f3v\u00e1szon voltak, a l\u00e1mpaf\u00e9nnyel \u201efestett\u201d.\\nAz 1970-es \u00e9vtized hazai m\u0171v\u00e9szet\u00e9ben\u00a0\u00a0 a fot\u00f3nak, a fotogramnak kiv\u00e9telesen fontos szerep jutott, miut\u00e1n a k\u00e9p-alkot\u00e1s hagyom\u00e1nyos eszk\u00f6zeinek ereje megkopott, ezek viszont \u00faj szempontokat, kihaszn\u00e1latlan lehet\u0151s\u00e9geket biztositottak a m\u0171v\u00e9szek sz\u00e1m\u00e1ra. Erd\u00e9ly Mikl\u00f3st\u00f3l Maurer D\u00f3r\u00e1n \u00e1t Baranyay Andr\u00e1sig sokan \u00e9s sok ter\u00fcleten, sokf\u00e9le c\u00e9llal haszn\u00e1lt\u00e1k a fot\u00f3-elj\u00e1r\u00e1sokat. Az \u00e9vtized n\u00e9h\u00e1ny jelent\u0151s ki\u00e1ll\u00edt\u00e1sa (Expoz\u00edci\u00f3, 1976, Fot\u00f3gramok, 1979) igazolta az alkot\u00f3kat, akik\u00a0 b\u00e1tran b\u0151v\u00edtett\u00e9k ezzel a k\u00e9pz\u0151m\u0171v\u00e9szet eszk\u00f6zt\u00e1r\u00e1t \u00e9s lehet\u0151s\u00e9geit. G\u00e9mes ezeken a ki\u00e1ll\u00edt\u00e1sokon nem szerepelt, de maga a fot\u00f3, mint \u00faj m\u00e9dium \u2013 ha m\u00e1sk\u00e9ppen is -\u00a0 \u00e9rdekelte: seg\u00edts\u00e9g\u00e9vel, juthatott k\u00f6zelebb az \u0151t \u00e9get\u0151 k\u00e9rd\u00e9sekhez, \u00e1ltala juthatott egyre m\u00e9lyebbre.\\nJacek Werbanowski lengyel m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9sz egy \u00edr\u00e1s\u00e1ban \u00fagy fogalmazott, hogy G\u00e9mes P\u00e9ter egy mandarin t\u00e1vols\u00e1gtart\u00e1s\u00e1val szeml\u00e9lte a vil\u00e1got. \u00c9n nem \u00edgy gondolom. \u00c9s nincs tal\u00e1n senki, aki szemk\u00f6zt \u00e1llva ebben a teremben a V\u00edzvonal kompoz\u00edci\u00f3j\u00e1val, ne h\u00fcmm\u00f6gne Werbanowski szavain: t\u00e1vols\u00e1gtart\u00e1s? h\u00e1t\u2026.Mert igaz, a figur\u00e1k valami h\u0171v\u00f6s k\u00f6zegben lebegnek, a karok, t\u00f6rzsek \u00e9s l\u00e1bak dallamos \u00edve k\u00f6nnyed\u00e9n hull\u00e1mzik a t\u00e9rben, a testek \u00e1rny\u00e9kk\u00e9nt suhannak el a szem\u00fcnk el\u0151tt. De l\u00e1ttukon a n\u00e9z\u0151 azon is elt\u0171n\u0151dhet, mi ezeknek az egym\u00e1sba \u00e9r\u0151, egym\u00e1st foytat\u00f3 mozdulatoknak igazi helysz\u00edne? Aki ehhez a k\u00e9rd\u00e9shez k\u00f6zel\u00edt, az a m\u0171 \u2013 \u00e9s m\u00e1s G\u00e9mes-m\u0171vek - legfontosabb r\u00e9teg\u00e9be pillanthat be a mindent \u00e1that\u00f3 szem\u00e9lyess\u00e9g m\u00e9ly\u00e9re.\\nA V\u00edzvonal fontos s\u0171r\u00fcs\u00f6d\u00e9si pont az \u00e9letm\u0171ben. G\u00e9mes ekkorra a fot\u00f3, a fotogram seg\u00edts\u00e9g\u00e9vel megtal\u00e1lt valamit, ami fel\u00e9 a k\u00e9pek sz\u00e1nd\u00e9kosan hom\u00e1lyban hagyott jelenetei m\u00e1r tapogat\u00f3ztak. Az elmos\u00f3d\u00f3 alakok k\u00f6r\u00fcli semmi helyett\u00a0 sokat sejtet\u0151, vagy a dolgokat \u00e9lesen-hat\u00e1rozottan kimon\u00f3, letisztult k\u00e9pform\u00e1ra, nyitott kompoz\u00edci\u00f3ra tal\u00e1lt.\u00a0 Most a kompoz\u00edci\u00f3 utols\u00f3 darabj\u00e1n az \u00fasz\u00f3 alak \u2013 ak\u00e1r a versenyz\u0151, miut\u00e1n meg\u00e9rintette a\u00a0 medence fal\u00e1t \u2013 megfordul \u00e9s visszafel\u00e9 folytatja \u00fatj\u00e1t\u00a0 a v\u00edzben. A mozg\u00e1snak nincsen c\u00e9lja, vagy: a c\u00e9l maga a mozg\u00e1s, mely nem \u00e9r\u00a0 v\u00e9get az els\u0151 \u00e9s utols\u00f3 k\u00e9pben; gondolatban, k\u00e9pzeletben \u00fajrakezd\u0151dik.\\nAz alakok k\u00f6z\u00f6tti m\u00e9lybe nem k\u00f6nny\u0171 belel\u00e1tni: mintha a m\u0171v\u00e9sz j\u00f3t\u00e9kony k\u00f6df\u00fcgg\u00f6nyt vonna szem\u00fcnk el\u00e9, melynek gyeng\u00e9den \u00e1ttetsz\u0151 anyaga m\u00f6g\u00f6tt \u00e9ppen csak felsejlik a jelens\u00e9gek igazi tartalma, a form\u00e1k igazi jelent\u00e9se. Aki belefeledkezik a l\u00e1tv\u00e1nyba, aki pillant\u00e1s\u00e1val k\u00f6veti az \u00fasz\u00f3k mozg\u00e1s\u00e1t, a karok \u00e9s l\u00e1bak koreogr\u00e1fi\u00e1j\u00e1ba mer\u00fclve \u00e9s szinte a b\u0151r\u00e9n \u00e9rezve a v\u00edz (vagy a leveg\u0151?) h\u0171v\u00f6s\u00e9t, az egyszersmind \u00e1lom \u00e9s \u00e9brenl\u00e9t, \u00e9let \u00e9s hal\u00e1l ismeretlen k\u00f6zeg\u00e9vel tal\u00e1lkozik, neh\u00e9z, megv\u00e1laszolhatatlan k\u00e9rd\u00e9sekkel\u00a0 szembes\u00fcl.\\nB\u00e1r olykor m\u00e1s G\u00e9mes-m\u0171vekben is (Auto-\u00e9tude, 1981; M\u0171holdas est, 1991) r\u00e1ismerhet\u00fcnk a V\u00edzvonal h\u0171s \u00e9s rejt\u00e9lyes atmoszf\u00e9r\u00e1j\u00e1ra, l\u00e1tnunk kell: a V\u00edzvonal atmoszf\u00e9r\u00e1n\u00e1l sokkal t\u00f6bb; k\u00edm\u00e9letlen\u00fcl \u00e9s k\u00f6vetkezetesen fogja egybe az egyszer\u0171 k\u00e9pi megjelen\u00edt\u00e9st a filoz\u00f3fia v\u00e9gs\u0151, sz\u00f3 szerint \u00e9letbe v\u00e1g\u00f3 k\u00e9rd\u00e9seivel. Az \u00e9letnek \u00e9s a hal\u00e1lnak, a l\u00e9tez\u00e9s\u00a0 \u00e9s a semmi oly k\u00f6nnyednek l\u00e1tsz\u00f3, de\u00a0 v\u00e9gletesen s\u00falyos megfogalmaz\u00e1sa bujk\u00e1l a V\u00edzvonal figur\u00e1i k\u00f6z\u00f6tt, a megfoghatatlan, v\u00e9ge\u00e9rhetetlen k\u00f6zegben. A testek lebegnek; beleny\u00fajt\u00f3znak az \u00fasz\u00e1s mozdulataiba, s\u00falytalan k\u00f6nny\u0171s\u00e9ggel k\u00f6vetik egym\u00e1st. Emelkednek \u00e9s s\u00fcllyednek az \u00e1ttetsz\u0151, meghat\u00e1rozhatatlan, k\u00f6ztes semmiben, \u00e9brenl\u00e9t s \u00e1lom, jelen\u00e9s \u00e9s val\u00f3s\u00e1g v\u00e1laszt\u00f3vonal\u00e1n, a \u201ev\u00edzvonalon\u201d, amely jelzi \u2013 ak\u00e1r a haj\u00f3k oldal\u00e1ra festett vonal \u2013 a k\u00f6z\u00f6tt\u00fck l\u00e9v\u0151 hat\u00e1rt. A \u201ev\u00edzvonal\u201d\u00a0 tal\u00e1n maga a testek k\u00f6z\u00f6tt hull\u00e1mz\u00f3 \u2013 hogy \u00e9l\u0151k-e vagy holtak, nem tudjuk - , ak\u00e1r a plat\u00e1nfa sz\u00e1rnyas term\u00e9se forog a leveg\u0151be, ha elkapja a sz\u00e9l.\\nA V\u00edzvonal-kompoz\u00edci\u00f3 l\u00e1tt\u00e1n mindannyiszor esz\u00fcnkbe juthat a Herakleitosz-t\u00f6red\u00e9k, amelyet D\u00e9kei Kriszta id\u00e9z G\u00e9mes P\u00e9terr\u0151l \u00edrott cikk\u00e9ben: \u201d Hal\u00e1l mind, amit \u00e9bren l\u00e1tunk, \u00e9s mind, amennyit alva, \u00e1lom.\u201d\\nElhangzott a ki\u00e1ll\u00edt\u00e1s megnyit\u00f3j\u00e1n, 2019. m\u00e1rcius 8-\u00e1n, a Plat\u00e1n Gal\u00e9ri\u00e1ban.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg\",\"width\":350,\"height\":119},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/budapest\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/budapest\/\",\"name\":\"Instytut Polski w Budapeszcie\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/budapest\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/0d8a0025312a17e346e67e3c446cf459\",\"name\":\"sienkiewiczl.disabled\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/37c03cac7512c34f5dfeba093c3631c1?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/37c03cac7512c34f5dfeba093c3631c1?s=96&d=mm&r=g\",\"caption\":\"sienkiewiczl.disabled\"},\"url\":\"https:\/\/instytutpolski.pl\/budapest\/author\/msz\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline - Instytut Polski w Budapeszcie","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/","og_locale":"pl_PL","og_type":"article","og_title":"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline - Instytut Polski w Budapeszcie","og_description":"Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery. Friday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm […]","og_url":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/","og_site_name":"Instytut Polski w Budapeszcie","article_published_time":"2019-06-03T17:02:44+00:00","article_modified_time":"2019-06-11T19:40:55+00:00","og_image":[{"width":350,"height":119,"url":"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","type":"image\/jpeg"}],"author":"sienkiewiczl.disabled","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"sienkiewiczl.disabled","Szacowany czas czytania":"10 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/","url":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/","name":"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/budapest\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet-300x102.jpg","https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","datePublished":"2019-06-03T17:02:44+02:00","dateModified":"2019-06-11T19:40:55+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/0d8a0025312a17e346e67e3c446cf459"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/"]}],"@context":"https:\/\/schema.org","startDate":"2019-03-08","endDate":"2019-04-17","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.\nFriday 8 March, 6:00 pm \u2014 Wednesday 17 April 2019, 6:00 pm\nPlat\u00e1n Gallery\nBudapest, VI. Andr\u00e1ssy \u00fat 32.\nPlat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th anniversary of the founding of the gallery.\n\u00a0\nPLAT\u00c1N20\nP\u00e9ter G\u00e9mes\u00a0Waterline\n\u00a0\nThe Polish Institute in Budapest cordially invites You to the vernissage of the exhibitionPLAT\u00c1N20P\u00e9ter G\u00e9mes\u00a0Waterlinecelebrating the 20th\u00a0anniversary of the founding of Plat\u00e1n Galleryat 6 p.m. on Friday, 8th\u00a0of March 2019, at the Plat\u00e1n Gallery.Celebratory remarks: Joanna Urba\u0144ska, director of the Polish Institute and Barbara Wiechno, former director of the Polish Institute (1997-2001)Opening speech: M\u00e1rta Kovalovszky, art historian\n\u00a0\n2019 is an important year in the history of the Polish Institute in Budapest, as it marks two anniversaries at once: the institute was established 80 years ago, while its gallery of contemporary art, Plat\u00e1n celebrates its 20th\u00a0anniversary. Plat\u00e1n Gallery opened its doors in 1999 at a venue on Andr\u00e1ssy Avenue that used to accommodate a popular Polish store. Its name is an allusion to the famous plane trees (Platanus) of Budapest, indicating that the gallery was meant to be a long-term enterprise. Plat\u00e1n debuted with the exhibition \u201cP\u00e9ter G\u00e9mes: Diary\u201d. Thus the current exhibition of G\u00e9mes, a graduate of the Academy of Fine Arts in Warsaw, has symbolic significance as an homage to the artist on the 20th\u00a0anniversary of the founding of the gallery.\n\u201eWill P\u00e9ter G\u00e9mes' art remain indelible in the History of modern art? I personally believe so. But probably much more important than any future judgement is our common experience as those lucky enough to exist somewhere in Central Europe at the end of the twentieth century. Here I think of the joy of common existence with such a righteous, wise and sensitive man in a white cap who could perceive the world with the critical distance of an old mandarin. A man who helped us find the ineffable meaning of this strange world. A man for whom art and goodness, so rare these days, constituted unity.\u201d Jacek Werbanowski\nP\u00e9ter G\u00e9mes\u00a0-\u00a0Born on 11th April 1951 in Budapest. He attended the High School of Art in Budapest Between 1965 and 1969, then graduated at the School of Window Dressing. Between 1972 and 1976 he was a student at the Academy of Fine Arts in Warsaw, Graphics Department, a pupil of Stanis\u0142aw Pozna\u0144ski and graduated with honours. In 1978\u201379 he received a scholarship from the Ministry of Culture for preparing lithographs at the Warsaw Academy. He was a member of the Studio of Young Artists from 1980, between 1984 and 1985 a member of Studio\u2019s Directorate. Between 1985 and 1988 he received Derkovits\u2019 scholarship; in 1986 he was awarded for the\u00a0Polish Culture prize; in 1987 received a performance prize; in 1989 won the\u00a0B\u00e9la Kondor contest\u00a0at the XV. National Biennial of Graphics; in 1990 received a scholarship of the Hungarian Academy in Rome, Italy; in 1994 received the\u00a0Munk\u00e1csy-prize. From 1989 he was a lecturer at the Hungarian School of Applied Arts, the Visual Studies Atelier. He died on 22nd October 1996.\nThe exhibition is on view from 11. March until 17. April 2019, on Mondays to Fridays from 10 am to 7 pm.\nThe exhibition is in the official program of Budapest Photo Festival.\n\u00a0\nKovalovszky M\u00e1rta megnyit\u00f3 besz\u00e9de\nKovalovszky M\u00e1rta\nPLAT\u00c1N20\nG\u00c9MES P\u00c9TER: V\u00edzvonal\nH\u00fasz \u00e9vvel ezel\u0151tt G\u00e9mes P\u00e9ter ki\u00e1ll\u00edt\u00e1s\u00e1val ny\u00edlt meg a Lengyel Int\u00e9zet Plat\u00e1n Gal\u00e9ri\u00e1ja. A m\u0171v\u00e9sz 1972-1976 k\u00f6z\u00f6tt a vars\u00f3i K\u00e9pz\u0151m\u0171v\u00e9szeti\u00a0 F\u0151iskola n\u00f6vend\u00e9ke volt, 1979-ben \u00f6szt\u00f6nd\u00edjjal \u00fajra visszat\u00e9rt Vars\u00f3ba. Eg\u00e9sz \u00e9let\u00e9ben szoros sz\u00e1lak f\u0171zt\u00e9k ezekhez a tanul\u00f3\u00e9vekhez, a lengyel kult\u00far\u00e1hoz, sok munk\u00e1j\u00e1t lengyel m\u00fazeumok \u00e9s lengyel bar\u00e1tok \u0151rzik. Els\u0151 ki\u00e1ll\u00edt\u00e1s\u00e1t 1981-ben Budapesten, az akkori Lengyel T\u00e1j\u00e9koztat\u00e1si \u00e9s Kultur\u00e1lis k\u00f6zpontban rendezte. Nem v\u00e9letlen teh\u00e1t, ha a mostani jubileum alkalm\u00e1val az \u0151 egyik legfontosabb munk\u00e1j\u00e1ra esett a Plat\u00e1n Gal\u00e9ria v\u00e1laszt\u00e1sa.\nG\u00e9mes P\u00e9ter gondolkod\u00e1s\u00e1t \u00e9s k\u00e9pvil\u00e1g\u00e1t alapvet\u0151en k\u00e9t nagy kult\u00fara alak\u00edtotta. A p\u00e1lya els\u0151 szakasz\u00e1ban a kereszt\u00e9ny ikonogr\u00e1fia mot\u00edvumaib\u00f3l \u00e9p\u00edtkezett, k\u00e9s\u0151bb, a V\u00edzvonal k\u00e9sz\u00fcl\u00e9se idej\u00e9n az antik filoz\u00f3fia, els\u0151sorban Herakleitosz szelleme vezette. Bizonyos, hogy m\u0171v\u00e9szeti \u00e9rz\u00e9kenys\u00e9g\u00e9t \u00e9s eg\u00e9sz \u00e9rett gondolkod\u00e1s\u00e1t a vars\u00f3i k\u00e9pz\u0151m\u0171v\u00e9szeti akad\u00e9mia filoz\u00f3fia-tanulm\u00e1nyai \u00f6szt\u00f6n\u00f6zt\u00e9k, j\u00f3t\u00e9konyan \u00e9s sikerrel \u00f6szt\u00f6n\u00f6zve \u0151t egyre \u00fajabb k\u00e9pek teremt\u00e9s\u00e9re \u00e9s a vil\u00e1g jelens\u00e9geinek \u00e9rtelmez\u00e9s\u00e9re.\nA V\u00edzvonal cim\u0171 kompoz\u00edci\u00f3 G\u00e9mes P\u00e9ter \u00e9s az 1980-90-es esztend\u0151k magyar m\u0171v\u00e9szet\u00e9nek f\u0151m\u0171vei k\u00f6z\u00e9 tartozik.\u00a0 Keletkez\u00e9s\u00e9nek idej\u00e9n nem csup\u00e1n n\u00e1lunk, de az egyetemes m\u0171v\u00e9szetben is jelent\u0151s v\u00e1ltoz\u00e1sok zajlottak.\u00a0 A m\u0171v\u00e9szeti szabads\u00e1gharcok ut\u00e1n \u00e1trendez\u0151d\u00f6tt a terep, a posztmodern korszak v\u00e9get \u00e9rt, a klasszikus m\u0171v\u00e9szeti trad\u00edc\u00f3 elvesz\u00edtette erej\u00e9t, az \u00faj m\u00e9diumok gyorsan \u00e9s ellen\u00e1llhatatlanul t\u00f6rtek el\u0151re, nyomukban \u00faj gondolkod\u00e1s, \u00faj m\u0171fajok, \u00faj form\u00e1k, \u00faj besz\u00e9dm\u00f3d sarjadt ki \u00e9s indult vir\u00e1gz\u00e1snak.\nG\u00e9mes az itt bemutatott m\u0171 k\u00e9sz\u00edt\u00e9s\u00e9nek idej\u00e9n m\u00e1r nem volt p\u00e1lyakezd\u0151. T\u00f6bb, mint egy \u00e9vtizedes m\u0171v\u00e9szi tev\u00e9kenys\u00e9g\u00e9ben sokat hasznos\u00edtott vars\u00f3i tanulm\u00e1nyainak tapasztalataib\u00f3l. Kialak\u00edtott egy saj\u00e1tos k\u00e9pi vil\u00e1got, amelyben az elmos\u00f3d\u00f3, dereng\u0151 figur\u00e1k gesztusai, cselekedetei els\u00fcllyedt kult\u00far\u00e1k rejt\u00e9lyes eml\u00e9k\u00e9t id\u00e9zt\u00e9k f\u00f6l. Legfontosabb eszk\u00f6zei a sz\u00f3r\u00f3pisztoly \u00e9s a f\u00e9ny\u00e9rz\u00e9keny fot\u00f3v\u00e1szon voltak, a l\u00e1mpaf\u00e9nnyel \u201efestett\u201d.\nAz 1970-es \u00e9vtized hazai m\u0171v\u00e9szet\u00e9ben\u00a0\u00a0 a fot\u00f3nak, a fotogramnak kiv\u00e9telesen fontos szerep jutott, miut\u00e1n a k\u00e9p-alkot\u00e1s hagyom\u00e1nyos eszk\u00f6zeinek ereje megkopott, ezek viszont \u00faj szempontokat, kihaszn\u00e1latlan lehet\u0151s\u00e9geket biztositottak a m\u0171v\u00e9szek sz\u00e1m\u00e1ra. Erd\u00e9ly Mikl\u00f3st\u00f3l Maurer D\u00f3r\u00e1n \u00e1t Baranyay Andr\u00e1sig sokan \u00e9s sok ter\u00fcleten, sokf\u00e9le c\u00e9llal haszn\u00e1lt\u00e1k a fot\u00f3-elj\u00e1r\u00e1sokat. Az \u00e9vtized n\u00e9h\u00e1ny jelent\u0151s ki\u00e1ll\u00edt\u00e1sa (Expoz\u00edci\u00f3, 1976, Fot\u00f3gramok, 1979) igazolta az alkot\u00f3kat, akik\u00a0 b\u00e1tran b\u0151v\u00edtett\u00e9k ezzel a k\u00e9pz\u0151m\u0171v\u00e9szet eszk\u00f6zt\u00e1r\u00e1t \u00e9s lehet\u0151s\u00e9geit. G\u00e9mes ezeken a ki\u00e1ll\u00edt\u00e1sokon nem szerepelt, de maga a fot\u00f3, mint \u00faj m\u00e9dium \u2013 ha m\u00e1sk\u00e9ppen is -\u00a0 \u00e9rdekelte: seg\u00edts\u00e9g\u00e9vel, juthatott k\u00f6zelebb az \u0151t \u00e9get\u0151 k\u00e9rd\u00e9sekhez, \u00e1ltala juthatott egyre m\u00e9lyebbre.\nJacek Werbanowski lengyel m\u0171v\u00e9szett\u00f6rt\u00e9n\u00e9sz egy \u00edr\u00e1s\u00e1ban \u00fagy fogalmazott, hogy G\u00e9mes P\u00e9ter egy mandarin t\u00e1vols\u00e1gtart\u00e1s\u00e1val szeml\u00e9lte a vil\u00e1got. \u00c9n nem \u00edgy gondolom. \u00c9s nincs tal\u00e1n senki, aki szemk\u00f6zt \u00e1llva ebben a teremben a V\u00edzvonal kompoz\u00edci\u00f3j\u00e1val, ne h\u00fcmm\u00f6gne Werbanowski szavain: t\u00e1vols\u00e1gtart\u00e1s? h\u00e1t\u2026.Mert igaz, a figur\u00e1k valami h\u0171v\u00f6s k\u00f6zegben lebegnek, a karok, t\u00f6rzsek \u00e9s l\u00e1bak dallamos \u00edve k\u00f6nnyed\u00e9n hull\u00e1mzik a t\u00e9rben, a testek \u00e1rny\u00e9kk\u00e9nt suhannak el a szem\u00fcnk el\u0151tt. De l\u00e1ttukon a n\u00e9z\u0151 azon is elt\u0171n\u0151dhet, mi ezeknek az egym\u00e1sba \u00e9r\u0151, egym\u00e1st foytat\u00f3 mozdulatoknak igazi helysz\u00edne? Aki ehhez a k\u00e9rd\u00e9shez k\u00f6zel\u00edt, az a m\u0171 \u2013 \u00e9s m\u00e1s G\u00e9mes-m\u0171vek - legfontosabb r\u00e9teg\u00e9be pillanthat be a mindent \u00e1that\u00f3 szem\u00e9lyess\u00e9g m\u00e9ly\u00e9re.\nA V\u00edzvonal fontos s\u0171r\u00fcs\u00f6d\u00e9si pont az \u00e9letm\u0171ben. G\u00e9mes ekkorra a fot\u00f3, a fotogram seg\u00edts\u00e9g\u00e9vel megtal\u00e1lt valamit, ami fel\u00e9 a k\u00e9pek sz\u00e1nd\u00e9kosan hom\u00e1lyban hagyott jelenetei m\u00e1r tapogat\u00f3ztak. Az elmos\u00f3d\u00f3 alakok k\u00f6r\u00fcli semmi helyett\u00a0 sokat sejtet\u0151, vagy a dolgokat \u00e9lesen-hat\u00e1rozottan kimon\u00f3, letisztult k\u00e9pform\u00e1ra, nyitott kompoz\u00edci\u00f3ra tal\u00e1lt.\u00a0 Most a kompoz\u00edci\u00f3 utols\u00f3 darabj\u00e1n az \u00fasz\u00f3 alak \u2013 ak\u00e1r a versenyz\u0151, miut\u00e1n meg\u00e9rintette a\u00a0 medence fal\u00e1t \u2013 megfordul \u00e9s visszafel\u00e9 folytatja \u00fatj\u00e1t\u00a0 a v\u00edzben. A mozg\u00e1snak nincsen c\u00e9lja, vagy: a c\u00e9l maga a mozg\u00e1s, mely nem \u00e9r\u00a0 v\u00e9get az els\u0151 \u00e9s utols\u00f3 k\u00e9pben; gondolatban, k\u00e9pzeletben \u00fajrakezd\u0151dik.\nAz alakok k\u00f6z\u00f6tti m\u00e9lybe nem k\u00f6nny\u0171 belel\u00e1tni: mintha a m\u0171v\u00e9sz j\u00f3t\u00e9kony k\u00f6df\u00fcgg\u00f6nyt vonna szem\u00fcnk el\u00e9, melynek gyeng\u00e9den \u00e1ttetsz\u0151 anyaga m\u00f6g\u00f6tt \u00e9ppen csak felsejlik a jelens\u00e9gek igazi tartalma, a form\u00e1k igazi jelent\u00e9se. Aki belefeledkezik a l\u00e1tv\u00e1nyba, aki pillant\u00e1s\u00e1val k\u00f6veti az \u00fasz\u00f3k mozg\u00e1s\u00e1t, a karok \u00e9s l\u00e1bak koreogr\u00e1fi\u00e1j\u00e1ba mer\u00fclve \u00e9s szinte a b\u0151r\u00e9n \u00e9rezve a v\u00edz (vagy a leveg\u0151?) h\u0171v\u00f6s\u00e9t, az egyszersmind \u00e1lom \u00e9s \u00e9brenl\u00e9t, \u00e9let \u00e9s hal\u00e1l ismeretlen k\u00f6zeg\u00e9vel tal\u00e1lkozik, neh\u00e9z, megv\u00e1laszolhatatlan k\u00e9rd\u00e9sekkel\u00a0 szembes\u00fcl.\nB\u00e1r olykor m\u00e1s G\u00e9mes-m\u0171vekben is (Auto-\u00e9tude, 1981; M\u0171holdas est, 1991) r\u00e1ismerhet\u00fcnk a V\u00edzvonal h\u0171s \u00e9s rejt\u00e9lyes atmoszf\u00e9r\u00e1j\u00e1ra, l\u00e1tnunk kell: a V\u00edzvonal atmoszf\u00e9r\u00e1n\u00e1l sokkal t\u00f6bb; k\u00edm\u00e9letlen\u00fcl \u00e9s k\u00f6vetkezetesen fogja egybe az egyszer\u0171 k\u00e9pi megjelen\u00edt\u00e9st a filoz\u00f3fia v\u00e9gs\u0151, sz\u00f3 szerint \u00e9letbe v\u00e1g\u00f3 k\u00e9rd\u00e9seivel. Az \u00e9letnek \u00e9s a hal\u00e1lnak, a l\u00e9tez\u00e9s\u00a0 \u00e9s a semmi oly k\u00f6nnyednek l\u00e1tsz\u00f3, de\u00a0 v\u00e9gletesen s\u00falyos megfogalmaz\u00e1sa bujk\u00e1l a V\u00edzvonal figur\u00e1i k\u00f6z\u00f6tt, a megfoghatatlan, v\u00e9ge\u00e9rhetetlen k\u00f6zegben. A testek lebegnek; beleny\u00fajt\u00f3znak az \u00fasz\u00e1s mozdulataiba, s\u00falytalan k\u00f6nny\u0171s\u00e9ggel k\u00f6vetik egym\u00e1st. Emelkednek \u00e9s s\u00fcllyednek az \u00e1ttetsz\u0151, meghat\u00e1rozhatatlan, k\u00f6ztes semmiben, \u00e9brenl\u00e9t s \u00e1lom, jelen\u00e9s \u00e9s val\u00f3s\u00e1g v\u00e1laszt\u00f3vonal\u00e1n, a \u201ev\u00edzvonalon\u201d, amely jelzi \u2013 ak\u00e1r a haj\u00f3k oldal\u00e1ra festett vonal \u2013 a k\u00f6z\u00f6tt\u00fck l\u00e9v\u0151 hat\u00e1rt. A \u201ev\u00edzvonal\u201d\u00a0 tal\u00e1n maga a testek k\u00f6z\u00f6tt hull\u00e1mz\u00f3 \u2013 hogy \u00e9l\u0151k-e vagy holtak, nem tudjuk - , ak\u00e1r a plat\u00e1nfa sz\u00e1rnyas term\u00e9se forog a leveg\u0151be, ha elkapja a sz\u00e9l.\nA V\u00edzvonal-kompoz\u00edci\u00f3 l\u00e1tt\u00e1n mindannyiszor esz\u00fcnkbe juthat a Herakleitosz-t\u00f6red\u00e9k, amelyet D\u00e9kei Kriszta id\u00e9z G\u00e9mes P\u00e9terr\u0151l \u00edrott cikk\u00e9ben: \u201d Hal\u00e1l mind, amit \u00e9bren l\u00e1tunk, \u00e9s mind, amennyit alva, \u00e1lom.\u201d\nElhangzott a ki\u00e1ll\u00edt\u00e1s megnyit\u00f3j\u00e1n, 2019. m\u00e1rcius 8-\u00e1n, a Plat\u00e1n Gal\u00e9ri\u00e1ban."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#primaryimage","url":"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","contentUrl":"https:\/\/instytutpolski.pl\/budapest\/wp-content\/uploads\/sites\/21\/2019\/06\/vizvonal-reszlet.jpg","width":350,"height":119},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/budapest\/2019\/06\/03\/platan20-peter-gemes-waterline\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/budapest\/"},{"@type":"ListItem","position":2,"name":"PLAT\u00c1N20 P\u00e9ter G\u00e9mes: Waterline"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/budapest\/#website","url":"https:\/\/instytutpolski.pl\/budapest\/","name":"Instytut Polski w Budapeszcie","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/budapest\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/0d8a0025312a17e346e67e3c446cf459","name":"sienkiewiczl.disabled","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/budapest\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/37c03cac7512c34f5dfeba093c3631c1?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/37c03cac7512c34f5dfeba093c3631c1?s=96&d=mm&r=g","caption":"sienkiewiczl.disabled"},"url":"https:\/\/instytutpolski.pl\/budapest\/author\/msz\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/posts\/649","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/comments?post=649"}],"version-history":[{"count":6,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/posts\/649\/revisions"}],"predecessor-version":[{"id":1103,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/posts\/649\/revisions\/1103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/media\/630"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/media?parent=649"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/categories?post=649"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/budapest\/wp-json\/wp\/v2\/tags?post=649"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}