SUMMARY
Part 3 is apparently the last of a series of articles about the 40 year history of the Association of Hungarian Photoartists. The documents were compiled by Editor Ferenc Markovics. Sándor Bacskai and Zoltán Trencsényi made the interviews with secretary generals and chairmen Miklós Rév, Tamás Féner, Géza Szebellédy and István Katona.
The Mecsek Photo Club staged for the second time the “Contemporary Hungarian Photography ‘97” last September in Pécs (Hungary). In addition to eight individual and four collective exhibitions and a symposium, the significance of this event is that mean while it has grown up as a top meeting point for photographers in Hungary. FOTÓMŰVÉSZET interviewed photoartists Gabriella Csoszó, Péter Herendi, Béla Kása and Ernő Tillai and organizer László Körtvélyesi.
András Bozsó’s photos are on exhibition in the Polaroid Gallery. Familiar and less familiar faces are looking on the visitor from the unique and irreproducible photographs, their effect altered by a technique called “emulsion transfer, sometimes in a disarmingly barefaced way, Péter Tímár comments.
Comments by György Szegő on portraits made by Herb Ritts former photographer to Vogue, Vanity Fair and the Rolling Stones, exhibited in the Kunsthalle in Vienna. What do Madonna, Mike Tyson, Gorbachow, Antonio Banderas and other Ritts interviewees have in common? All are in disguise!
The dim countours György Tóth’s photos remind of the vibration of a “still” video picture, of frames projected on one another or of the technique of comic-making; Tamás Krúdy comments on the exhibition in Galéria ’56.
“Human print” is the title of Szegő’s essay about “new realist” Yves Klein who has built a bridge between the classical and the neo-avantgard by his “photographic drawings”, as well as about the prints by Gabriella Cseh and Illés Sarkantyú going the same way as Klein.
Béla László Vázsonyi reports on novelties with Forte. The new type black-and-white films, photographic papers and chemicals are produced primarily for professional photographers not for “profi” amateurs.
FOTÓMŰVÉSZET introduces to the Readers young photographers who are the winners of the Pécsi József Scholarship: Gábor Pfisztner reports on Luca Göbölyös, Ildikó Kosztolni on Attila Haid and Ábel Szalontai, and Sándor Bacskai on István Soltész.
György Szegő reviews a “db” article “Architektur Schwarzweiss 1997” . He makes an interesting statement: “Sometimes photographers seems to understand better than architects: neither cultural aim nor functional design is given priority in good architecture. Good architecture is nature-oriented.”
In “Whitsun in Prague”, Zoltán Fejér reports on the 16th International Audio-Visual Exhibition INTERKAMERA ’97 as well as on seminars and the meeting of 20 editors-in-chief of European magazines.
A thesis on Mór Erdélyi talented famous royal court photographer in the 1890s, by Judit Baróti graduate of the postgradual training course organized by the Eötvös Lóránd University and the Hungarian National Museum.
In “Living photo archive on the bookshelf” Ferenc Markovics comments on Part 4 of a series of albums Fényképtár (Collection of Photography) which help remove the “blank spots” from the map of photography of the 20th century.
