Zoltán Erdei Gy., Untitled, painting, oil on canvas, 127x266 cm, Art Gallery, Târgu Mureș, 1989.
Zoltán Erdei Gy. Exhibition
14 January 1995 6 February 1995

‘He painted for only one evening’
there is a sensibility in the air, perceived in the visionary and poetical sensibility of the generation
/ ATELIER 35 / whose many dreams he shared
in the nostalgic autumn evenings/ outside the garden it was autumn/ one was
speculating about the gray, sensibility was considered an exile
how depressing this road, these discussions, when all one needed was a bottle of red wine and two
women; one blue and the other one violet
the melancholy as a moral possibility of an unfinished world – it troubles and unsettles him
the fragments of a baroque statue allow him to be obnoxious
the distance between him and reality a holding up in suspense
the sickness of passing, the indecisiveness of transition reduce history to sentiment
rhetorical subjectivism: pointed interest in the social; urbane self-assurance
clear subjectivism: a gray zone codified for political and national communication
an interest in classic consumer values: flowery tiles and cocoa dutchmen, pillows
with embroidered peonies, stout man with pink bellies and bald patches
he knows a dark, romantic world, filled with chaotic dreams, he wants a world free of
instability and seduction
he engages in a calm quiet dialog with his own limitations, de doesn’t fool himself, he doesn’t
misjudge things, de doesn’t dream of forbidden triumphs
he takes good account of his capital of freedom
his post-modernism no longer needs a theory, it’s in his everyday life / breakfast
with stale bread at the Chemical Works at Tîrnăveni and the breakfast with silken
napkins at the residence of dutch ambassador Coen Stork

“THE TRACTOR” / Zoltan Erdely, Dorin Căliman, Toader Mare / a radical commitment
to history, to politics
after years of falsehood and ideological manipulation, nothing should be forgotten, the turns of
nomenclatura: pink – red – fiery red
the red “TRACTOR” from the ambiguous of socialist realism
the red “TRACTOR” – the iconography of the nationalism
like Holger Fickelscherer, Claus Vonderwerth, Boris Sajtinac, ironical, cynical, violent
resurrection of Party symbols
the art can not separate from life

tenderly and deliberately, autumn still reigned outside in the garden
Klein’s blue, Manzoni’s white and Clemente’s strict fascinations
angels have got only one wing
towards the stars with only three points the stears are broken
the hands are long and sad, the birds in the corners are golden
golden birds – the climax of strangeness
the apparent sleep – anxiety gets violent
fearsome in his blue shirt
‘he painted for only one evening’ – Liviana Dan