Csak múlna már el, nem is én vagyok ez már

The current exhibition explores the specificities of this condition through the works of seven women artists who, although born from different personal experiences and speaking from different perspectives, find each other in these spaces through notions of vulnerability, fragility and fragility.

Some of the works approach the subject from a social perspective, exploring the social aspects of physical and emotional abuse of women. Petra Kovács paints tableaux with statuesque female figures frozen in stone, staring out at the viewer, their eyes lost. They are timeless figures, cold and incapable of action, cut off from life by the abuse they have suffered and no longer able to be present in the here and now. Their fluid contours rhyme thrillingly with the lines of Denisa Štefanigová's composition. In the Czech artist's paintings, fantastical, surreal figures melt into one another, their boundaries dissolve, ambivalences and hierarchies blur, and social norms and systems are in fact challenged in the artist's compositions, while this fluidity sometimes introduces the notion of destruction into the reception. The softly disintegrating, writhing, writhing creatures search for themselves and the other as they become one with their environment.

Judit Bodrogi's works also speak of severe pain with an airy lightness, the fragility and fragmentation of the human body creating an exciting contrast with the delicacy and sensitivity of embroidery. His sensitive and sensuous works carry the element of abuse in their very making, as the very act of passing a needle through the canvas is a violent, wounding gesture, while the timelessness and meditative nature of the embroidery gives these images a softness. Bodrogi's works enter into a fascinating dialogue with Kriszta Nagy's "Wounded" paintings, which are born out of the artist's personal experiences. "I broke up with my boyfriend at the time, it was a very difficult relationship. I had a lot of wounds with him. I died in the final break-up", says the artist about the birth of this series, for which she was the model, the intention being to show the wounds, the wounds on herself, which appear as real scars, created by sewing and re-sewing the canvas.

The silence of Kata Töttös' figures is what shocks the viewer. These women carry astonishing pain within themselves, but they cannot cry it out, they suffer inside, while their suggestive gaze cries out for help. Even the woman whose eyes are blindfolded addresses the recipient with the same force, her neck craned, her posture tense, her anguish stretching every inch of her. They want to cry out, yet they cannot.

The figures of Annamária Gáspár, on the other hand, turn inwards, hide from the world and try to find a solution or a meaning to the wounds, pains and traumas that cannot be understood by reason. They burrow, seeking shelter from the confusing and hurtful external reality, a refuge where they can safely cope with the pain.

In the space, pieces of Gabriella Városi's installation Your soul is a dagger through your soul appear in several places, thus linking and connecting the exhibited works. These small, intimate works are metaphors of violent wounding to the heart, which also refers back to the title of the exhibition, a quote from the song Heartbreak by the Little Man and the Badger. "If only it would just go away, it's not me anymore", is the line, which simultaneously states the desire to heal from pain and the distortion of personality and the destruction of the individual caused by abuse.