The genesis of or otherwise the absence of experiences principally determines our senses related to our apprehended, encountered or contemplated realities. There are people who say that observation is the grounds of everything. However, expressing these experiences is a lot more serious action to do, and so is seeking the position and formation of experiences among our manifestations that can be communicated as messages. Turning more convoluted logical and conceptual speculations into illustrated forms has been the artists’ task up to now, succinctly and acutely, in an instance, as an efficacious source of experiences. Miklós Ladányi-Tóth is the doctor of arts. As an expert, he is capable of performing analysis and of contemplating things and making reasonable decisions; he is the least satisfied by the preclusive consideration of incentives springing from the guts. The two major pillars of his exhibitions are the act of leaving and of drifting apart, and venues colored by civilization, and the experience of cultural swap intertwined with moral motifs, as well as finding and selecting visual signs and methods of formation of personal genuine efficient for convoluted understandings described just above, and their arrangement into tangible values. He also composed writings that chronicle this exhibition itself, a multi-storey and functionally layered structure resting on two pillars. For the sake of perfection, temper and spirit, to which experiences root, must also be referred to. Whenever doing so, our message will inevitably entail some political implications. Namely, this exhibition is not only an enterprise to convey the aesthetics of recognitions concerning independent visual forms, but also to focus on the most relevant matters of Miklós Ladányi-Tóth’s personal life, including his option to have a family, and moving to the UK with his wife and getting a job there, including that, by becoming part of social processes typical of the globe, their most sensitive problem is now migration of critical importance that concerns everyone these days. Changes occurring in existence: Miklós Ladányi-Tóth’s works performed in the most recent years have become distantly retrospective tokens in this respect most interestingly. Objects that of course evolve into artistic creations wear the gowns of poetic narrative. Punctured, old suitcases lit from the inside; punctured and ragged maps: objects used for the purpose of orientation and the mobilization of personal belongings. Being punctured, their aesthetic function is highlighted primarily, and furthermore they impart the symbolic communiqué of the disposal of consistency. Maps of Hungry that remind us of football pitches refer to the feverous wave of football stadium construction projects of megalomaniac nature according to Miklós Ladányi-Tóth’s concept. As to the pattern of these maps, he conceptualized iconographical data from the logos of political parties that have been elected to the Hungarian Parliament since the profound political changes in 1989. He would never deny that the baseline of his exhibition narrates the current political situation in Hungary, more specifically the perplexing cases of taking up careers abroad that count hundreds of thousands today. This, on the one hand, is compelling and, on the other hand, liberating to him as well. In his writings, Miklós Ladányi-Tóth unambiguously undertakes the direct forms of political debate and he sets his razor-sharp points of view, many of which contributed to their migration to the UK. He creates “not by the aid of documents, photographs or archives, but rather of patterns (laces, embroidery) that visually recall the elements of fairy tales …” Wooing intellectuals who cannot be connected to the fate of the country and nation in a way that would be satisfactory to them on the other side (and I am writing this on “the other side”) and have been released as the symbolization of the European ideology of freedom is the unconditional boon of the receiving society. Here, i.e. in Hungary, one is not able to judge whether particular interest that operates such decisions has ever been satisfactory, or uncompromising, and if yes, in what way. Anyhow, Miklós Ladányi-Tóth exerts efforts to propagate “his Hungarian qualities” toward the British frame of mind in a brand new intellectual milieu and in the “consuming market” of artistic visual conventions that are progressive and mysterious in a different way, not to mention their character that is also different from ours. The darkening of critical nature connected with the texture of retrospect has become an unconditionally accompanying motif of this artistic operation. By the entry of political motifs, this has become inevitable, because change itself would partly become unintelligible, if the attractive and rainbow-like jewels remain to exist. It is interesting to see how radical transfers of meaning take place in the case of Ladányi-Tóth’s particular creations which a few years ago would have been judged as warning symbols close enough to the threshold of shoddiness. It is impossible to judge from here, i.e. Hungary, what ratio of the commixture of the similar (“part of that”) and “other” (“not part of that”) is necessary for acceptance under the circumstances of the British visual culture. As his fellow artists, we can only wish that the conscious transformation of Hungarian genuine will be successful and that the universal values in Ladányi-Tóth’s pieces will be good enough to arouse and to reserve British interest.