1998/3-4. XLI. ÉVFOLYAM 3-4.. SZÁM


Tímár Péter: Erdély, utólszor – Korniss Péter új képeiről

Jókai Anna: A fotóművészet hatalma – Gondolatok Gink Károly kiállítása alkalmából

Szegő György: Szobrászat a fotográfia fényében

Galgóczy Zsuzsa: "Tükör által homályosan" – "Homályos ceremóniák" a Műcsarnokban – néhány sor Alain Fleischerről

Palotai János, Bacskai Sándor: Stílusgyakorlatok Á(bel)-től Z(oli)-ig – Beszélgetés Pecsics Máriával és Székely Judittal

Cseri László: Harnóczy Örs képei – Passziók és fotószobrok (Polaroid Galária)

Bacskai Sándor: Tájképek szürkében – Szamódy Zsolt fényképei

Götz Eszter: Lesifotók odaátról – Okkult fotográfia a Kremsi Kunsthalle kiállításán

Christian Caujolle: Christer Strömholm, avagy az alkotó fotóművész

Hasselblad Open 1998. – Az Országos fotópályázat értékelése

Szegő György: Exilfotográfia – I. Tengerentúl. Osztrák(-magyar) fotográfusok száműzetésben (1920–1940) – II. Akik elmentek / Akik maradtak

Götz Eszter: Képes útinapló – Kiállítás Medgyaszay István 1932-es indiai fotóiból

Fogarasi Klára: Tipikus jelenségek a magyar néprajzi fényképezés korai időszakában

Albertini Béla: A fotószakíró Brogyányi Kálmán

Cs. Lengyel Beatrix: Fotologia

Fejér Zoltán, Schwanner Endre: Fotópiaci körkép, technikai újdonságok, és a NIKON F60

Fejér Zoltán: Bálint István Bilux fénymérője

Emlékező naptár

E számunk szerzői


SUMMARY 98/3-4

Péter Korniss photo artist who had spent many years photographing the rural culture and life style, returned to the scene of his photo album Past Time, in Transylvania. His photos show that the timelessness of that culture has been affected by the years passed since the change of the political system in Romania, Péter Tímár comments on the photos soon to be seen both in album and on exhibition.

“The Photographer’s Power” is the title of Anna Jókai’s review of Károly Gink’s exhibition. “His camera is virtually a continuation or integral part of the body she notes when commenting on Gink’s portraits of poets, writers and artists.

György Szegő: “Sculpture in the light of photography” a review of a show in the Palais Liechtenstein, and “Exilphotography” a review of an exhibition in the Vienna Kunsthalle in memory of Austrian(–Hungarian) photographers forced into emigration to the US, to the Far-East or to Palestine. The latter review is a continuation or a supplement to a review of an earlier monumental photo exhibition “Those who left and those who stayed” in the Hungarian Photographic Museum in Kecskemét in which Szegő asserts: “Károly Kincses’s selection and conception covers a period larger than that in Vienna, and comes to the conclusion also shared by the visitors that “the photos of those staying at home are neither more nor less attractive than of those gone.”

In his works Alain Fleischer tries to symbolize vision, the process of developing to an individual as a subject gets onto the blind spot, then reappears while man is recreated by belief in creation, writes Zsuzsa Galgóczy about the Parisbased artist’s installation in Műcsarnok (Art Gallery) in Budapest.

Thirteen students of the Budapest Applied Arts School graduated from the Communication Faculty. János Palotai presents the young artists starting their career. Two of them Mária Pecsics and Judit Székely were interviewed, as well.

László Cseri reviews portraits and photo-carvings by Örs Harnóczy on show in the Polaroid Gallery: “There is sadness and distress of sort behind the tender smiles. The lovely charm of intellectuals of the provincial Hungary is ref-lected in his photos made with ardour and enthusiasm.”

Sándor Bacskai reports on the work of Tatabánya-based Zsolt Szamódy photographer: “He takes his photos when the subject is no more like it used to be and not yet as it will be: when a tree is about petrifying and the stone statue about turning to dust. He is at home in each corner and knows the name of each stone.”

Eszter Götz: Illustrated diary review of architect István Medgyaszay’s photos made in India. This illustrated diary from 1932 talks about passion for patterns, about the deliberate acts of a talented “tracker”, and about how the supposed cultural superiority of a European suddenly falls to pieces under the tremendous effect of a direct encounter. In her other review – “Mysterious photos from over there”, Eszter Götz reports on an “Invisible Photography” exhibition in the Kunsthalle in Krems – that presents documents of 100 years old occult photography and its effect on figurative arts.

Christian Caujolle director of the Paris-based VU Agency reviews the oeuvre of Swedish Photographer Christer Strömholm: “The gems of his multicolour unique oeuvre are fascinating pictures; they don’t reveal themselves, they leave us alone with our questions so that we come back to them time and again.”

The thesis of Klára Fogarasi a graduate of the joint postgraduate training course at the Eötvös Lóránd University and the Hungarian National Museum. It is a review of etnographic photography in the 19th century and in the early 20th century, a review of the types of pictures and changes.

In his study, Béla Albertini expert in the history of Hungarian social photography, reviews the oeuvre of photo publicist Kálmán Brogyányi (1905–1978). In his first article about photography in 1930 and in his volume of picturesqueness and for the so called “New Objectivity.”

Beatrix Cs. Lengyel’s short review of Fotologia photo-chronicle edited by Italo Zannier and published by Alinari Photographic Museum in Florence.

According to Beatrix Cs. Lengyel “Fotologia has made lots of contribution that by now history of photography is a separate discipline in Italy.”

Zoltán Fejér and Endre Schwanner report on novelties in phototechnology on the 25th anniversary of photokina also elaborating on the preliminaries of new technologies – then Endre Schwanner gives a few ideas about the handling of cameras apropos of Nikon F60 coming to the market.

Zoltán Fejér: "Chapters from the history of Hungarian photography" – Bilux exposure meter had been patented in 1938, and the Hungarian Optical Works produced thousand of this exposure meter in 1941.