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There was once a trend that swore to the small and the simple. It was drawn by a generation whose response was to the self-serving complexity and grandeur of its immediate predecessors. Minimal Art has lost its validity as a school and as a kormaximum, but since then works have emerged in which it is not difficult to hear the above maxima. Szemző brings his news to the fore, as the 180 group he founded, among others, was one of the most significant domestic representatives of the style.
And indeed: in these pieces, little unfolds. We hear grooves, pulsations that start fairly empty and then fill up, but not very much. (There’s also one that vomits this kind of construction: it starts and runs down.) The tempos are usually slow and medium-sized, and even in a few quick pieces, there’s a hint that we feel this author has a style.
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