Tibor Wehner: Exhibition Opening, Kaposvár, Rippl-Rónai Múzeum, May 21, 1987.
Since the subject is industrial art and an art exhibition, let us begin with a poetic description, a simile: This collection is similar to a richly laid table, a trayful of delicacies, a ceramic cornucopia. Everybody can find the one he likes here, there is such a large variety. Naturally, the artist pays attention not to let the chaos to be overwhelming, not to let confusion rule. We can say that he - with an audacious and carefully thought-out stroke, which is unexpected in a way - puts this enormous minimal-mass into order. This way, a kind of system, uniform approach, platform, opinion, pre-conception - or conception - comes to the surface, in disguise. This stuff is truly complex, but it is also clear as a crystal: disguise hides disguise.
Looking for - and finding - parallels in art history, deriving from and on the level of generality, we could launch a theory as the subject of our study: Levente Thury is the anatomist of the second part of the 1980s. Only metaphorically again: the variator and meditator of the physical existence and psychical relations. Since the miniaturized golem underwent a kind of change - here we may refer to the syllabus at high schools, referring to the assumed theory of qualitative leap in case of a change -, since by the hands of our ceramist, the mythical figure, the golem, which is a body without spirit, became a spirit without a body, or to be more precise: let us make one more twist around the line of thoughts toward the facts, a malleable spirit - a great, enormous spirit which it is also very small. Since the figures of Levente Thury are pocket-monuments to be crumpled, which are fluttering with their wings in the private spheres of public territories. They may be mobilized, they are portable and they do not overwhelm our surroundings. If we happen to find their presence disturbing, we can leave them at home.
We do not know exactly what kinds of effect mechanisms the dimensional relations evoke in the recipient. It cannot be formulated and specified exactly whether a given piece is authentic - or discrediting, or carries a devastating effect - or is similar to a balloon. We only have conventions, automatic responses, habits, the presence and not-recognition of which is dangerous since it encourages the reason to become lazy and the emotion to become gray. Seeing Levente Thury's tiny sprit-sculptures - be careful, this is not Lilliput! - we suddenly wish the monuments to shrivel, the canvases span and expand to bigger and bigger surfaces to hunch over, in the opposite direction. The conflicts, the tragic circumstances, the tiny variations of contrasts not absolving anything and not dissolving in anything can fit or may fit in our palm so well. Look at these pieces. On reflection, we have to admit that this thing is a little alarming: this exhibition also depended on a few centimeters. And beside the complete small ones: the torsos. Can these be the memorial sculptures, the grand monuments of the small ones?
As you can see, our associations, references may lead far away. Staying here, clinging to the ground of artistic existence, we have to state that we stand in the middle of an ingenious, inventive ceramic art production which induces indignation, and we can be the experiencers and witnesses of a sovereign artistic expression, which is so rare these days. When there are so many quotation marks, quotations, adoptions, reinterpretation attempts, then we ruffle the codes of a new and first - though sprouting from a tradition - formulation at last. Naturally, the only question is what these codes are? As it often happens, the interpreter is embarrassed: Do these figures carry the loads of puppet-likeness, vulnerability, resignation, mutiny, revolution, offering models and indifference? Or what? And what do they want? Since they belong together, yet each of them is different - we must use this trite expression: Each appears to bear a different meaning. Similar ones and ones that slowly draw away from each other, modified ones and ones that come into conflict with each other. We could do here with a quotation with global force. An experienced commentary. In other words: there is no exact tip or instruction. Perhaps existence trembles here, the toy-man stamps about in great hesitation, between the either-or question marks. And if, by any chance, these tiny figures look down from their broomstick stands, they can be surprised to see that an exhibition is opened again.