SUMMARY 2003/5-6

A naive reporter from the MTI. György Lajos’s reflections, it is not clear if the biographical notes accompany the pictures selected from a reach oeuvre of many years of work for Magyar Fotó and MTI (although not published at that time), or the pictures are to illustrate the photographer’s latest essay. One thing is certain, the photographer’s pictures and reflections match very well. Gábor Pfiszter’s essay “Light flutters and big quakes of the soul…” is about János Vető photographer, by now a legendary figure of the Hungarian underground subculture: “Vető’s pictures combine basically photography, the history of photography, the history of photograph which consist of technology, topics and their conservation. It is a sort of peculiar odd end point that can be interpreted (by post-modern category) as the end of analogue photography. This is the end, nowhere further.” Zsófia Somogyi reports on the Horus Archívum. Cameraman Sándor Kardos started collecting materials for the Archive thirty years ago. This unique collection – presumably not yet processed systematically – comprises roughly one and half million photos each of which bears the amazing and inimitable diversity of private photos. On May 23, 2003 the Lumen Fotóművészeti Alapítvány (Photo-Artistic Foundation) and ARC implemented a joint photographic project Budapest 1 napja (1 day of Budapest), when twenty-six reporters and photo artists were photographing happenings in Budapest. Pictures selected from a huge number of photos have been put on show in the Millenáris Park. Fotóművészet interviewed András Fekete member of the Foundation about this interesting initiative. In Ab imo pectore – Péter Tímár writes about Zsolt Batár’s nature photos: “You are right, there is nothing peculiar on those photos, nothing is happening. You might believe, you simply go to the place, click-clack, and that’s all. But nature – who knows why – let Zsolt Batár come closer so that the photographer can have a look behind its “wrappings”. This is Zsolt Batár’s knowledge. It’s worth watching him.” Péter Baki questions two artists about their relation to photographing. At the beginning of his career Imre Bak had been interested in applying photos in fine arts: “I wanted to know to which world concept, art theory shall I commit myself..” “Photographing has remained my sweet forbidden love.” sums up Dezső Váli painter his relation to photographing in the interview.Ferenc Markovics made an interview with Sándor Áron Károly born in Kolozsvár (Cluj, Romania), and emigrating two years ago to Hungary. “In compliance with my basic mentality I have a nostalgic and traditionalist character, but the new technology, if needed, as an aid to achieve a goal, and if it facilitates work, also attracts me. By the way, I love graphics as much as photos. Therefore, I still don’t know what to call myself,” says the photo-grapher of a series of pictures titled Dr Walter’s Museum. Sándor Bacskai interviews Koutaiba Al-Janabi film-maker and photographer born in Bagdad, currently living in the UK. He has been awarded for his films at festivals and his photos have been published in reputed British photo journals. In the late seventies Al Janabi sought refuge in Hungary and stayed for a longer time in Budapest. Thanks to the “moods” of world politics he is closely attached to his birthplace, to his current place of residence and to Hungary, as well. “Loves and flowers of A” is the title of Gábor Pfisztner’s report on Japanese Photographer Araki Nobuyoshi’s exhibition in Budapest. “For about forty years Araki has been photographing his favourite topic, the players, objects, vibrations of Tokyo’s entertainment quarter’s life, never forgetting to remind you that through watching his pictures you might become part of a subculture tightly attached to its traditions and conventions.” Erika Schmied’s photos show Friedensreich Hundertwasser painter, architect, ecologist, and Thomas Bernhard poet, writer and moralist, two outstanding Austrian artists of the 20th century; this is the topic of György Szegő’s essay Parallel exhibitions – parallel careers. The apropos of it is an exhibition in the Vienna KunstHaus. During his Roaming Europe Zoltán Fejér visited Feuerthalen, Vienna and Mannheim. The Österreichisches Theathermuseum in Vienna organised an exhibition – Von der Pose zum Ausdruck – of photos selected from the Museum’s collection of more than hundred thousand pictures. In Mannheim Focus Mensch-Man in Focus is the name of the event commemorating Helmut Gernsheim prominent figure of the history of theoretical photography. With György Sümegi’s assistance István Genthon’s article about József Pécsi’s nude photos is published in full. The article had first been published in Társaság (Society) in 1922, and latter in Fotóművészet Vol 1/1967. From now on the paper earlier not easily accessible, will be available to those interested in Pécsi’s oeuvre. Magdolna Kolta’s essay commemorates Géza Frigyes Haller (1898-1954). Haller used to represent the Hungarian style, he was a master photographer, aesthetician, teacher, critic, organiser and the “maid-of-all-work” of the amateur movement. In 1932 he had been appointed secretary of MAOSZ, and in 1934-1935 he was responsible for the finances of the club, from 1939 he was the secretary of EMAOSZ, organiser of courses and training. Haller published about fifty articles and essays, and used to be the editor-in-chief of Fotóművészet before WW II. After 1945 he took part in the reorganisation of the Budapesti Fotóklub, biggest Hungarian photographer society. Károly Kincses writes about András Tokaji (1910-1981) one-time violin-soloist of the Radio Orchestra "he was an amateur photo-grapher in the literal sense. Although his full-time job was playing music, yet he was an expert at composing (pictures), laboratory work and arranging his works. He was focusing not on big things, great events, but on the artistic in everyday life. Therefore, his pictures are mostly cuttings; he used to cut out details of a whole, and thanks to his excellent composing skill and technical know-ledge he could again form a complete whole. A whole from details, and from those wholes his own world, this is the way one could sum up his oeuvre." Katalin Jalsovszky has been searching the photo archive of the one-time party daily Szabad Nép. Dark years, bright pictures is the title of the article. “Smiling people of a happy country are looking at you from the pictures depicting scenes seemingly set… But pure truth sometimes thrusts forward on the photos: a pair of worn down shoes, or a depleted ambience reveal the bleak and naked everyday poverty; but beside smiles ‘to order’, there is sincere happiness, delight in life that could never be completely killed by the dictatorship.” In his Book Review Péter Tímár calls the Readers’ attention to six books: Zones of Exclusion: Pripyat and Chernobyl by Robert Polidory; New York: A Democracy of Photographs; Sitting in China, by Michael Wolf; Now That You Are Mine, by Trine Sondergaard; London/Wales, by Robert Frank; The Omega Suites, by Lucinda Devlin.