The works in this exhibition explore the intersections of abstraction and illustration, as well as the transparent and opaque aspects of visuality, along with the relationship between literary references and autonomous text illustration. Six artists come together in the aqb Project Space to present „Memorable Fancy” a transgenerational group exhibition that can be seen as a continuation of the exhibition titled "Stirring Still" from four years ago. The title of the exhibition paraphrases the recurring subtitle of William Blake's famous prophecy, "The Marriage of Heaven and Hell," which disrupts and prompts a shift in dimensions within the poem and the reader's experience. The term "memorable" offers something constant and stable in contrast to the evanescent nature of fancy.
The common thread among the featured artists is their view of painting and drawing as challenges to perception and perceptibility, as territories for dynamic creation. On one hand, the exhibition presents Károly Klimó's recent paintings and his famous Artaud series, "Avec moi dieu-le-chien ". In other hand the exhibition in a literary analogy, aims to provide strong footnotes equivalent to the main text of Klimó's works. Christa Bartesch explores the medium of paper in her sophisticated performative drawings, which poetically deny any correspondences with the material world. Tamás Melkovics presents a large, prominently self-therapeutic drawing that prepares the ground for his modular sculptural work. Gábor Koós delves into the profound blackness of his so-called "ohaguro" paintings, inspired by Junichiró Tanizaki's essay "In Praise of Shadows," a meditation on light and shadow. In her new series of paintings, Luca Korodi plays with the pictorial indistinguishability of the macro and microcosm, the transitions between the organic and the inorganic.The elevation of the endlessly sustained gesture converges with the everyday in Josef Nadj’s "frog drawings." In Ancient Greek, the term "zoographos" referred to the painter as a drawer of living creatures, and the frog drawings evoke this tradition while also drawing inspiration from the natural science tradition of mineral drawings and animal illustrations.
The exhibition space, therefore, is both visionary and concrete, carrying something from the incompleteness and dynamism of the artists' studios. As a motto for all of this, one could interpret the two lines from T.S. Eliot's "Ash Wednesday," which can be found in Károly Klimó's large golden painting installation: " Wavering between the profit and the loss/ In this brief transit where the dreams cross”

The exhibition was supported by National Cultural Fund of Hungary.