SUMMARY 2005/5-6
Melánia Miklós interviews Róbert Révész dance photographer. Róbert Révész photographer from Zenta (Serbia), known to the professionals and to the public most of all for his theatre and jazz photos, has been living and working in Szeged since 1991. He documents the work of cultural societies and of street theatres, he is permanent photographer of the Kanizsa Jazz Festival and the Szeged Contemporary Ballet Company, but also keeps photographing both Hungarian and foreign dancing theatres. His works are regularly published in musical and theatrical reviews, catalogues. “I want to make the picture hidden in me” is the title of the interview.Our Gallery’s pictures have been selected from Béla Dóka’s works. Although his working method reminds of a reporter’s one, he works in a way different of most of the press photographers: “I come to realize, I should not necessarily search for exoticism, and look for stories that seem fascinating. I would like to extend my inner boundaries. I try to let people know things raising questions in me.” Sándor Bacskai made the interview introducing the pictures.In an essay I make photos, therefore am I? Thoughts of subjective documentary, Gábor Pfisztner points out: “Subjective documentary – a specific image presentation of the portrayal of the “outside world” – used to be counted as a photographic style of decisive importance over the past twenty years in Hungary,” adding that “That mode of expression seems to have been superseded in the recent past, the number of those coming forward publicly with that kind of documentaries is getting less, and discussions about the essence of photography seem to have been given different emphases. Polemics about defining it has become uninteresting because basic definitions cannot be defined either if there is no understanding about what documentary means and what subjectivity means in that sense. Might that visual form got exhausted?”György Szegő reports on the introductory exhibition of the +M?hely Csoport founded only recently. Members of a group of twenty-one photo artists (part of them used to be members of the Első Alkotócsoport [First Creator Group]) have the ambition to create while stimulating and influencing each other, “to accumulate the trade”, to collect, to multiply their strength and energy. “How can be room for so many good creators (photographers)? György Szegő not only asks the question, but he also answers it.In 2003 László Tasnádi won a Hungart scholarship with his essay-competition paper Options of using real images (conventional and digital photographs) in 3D computer programs. In the article he gives account of his work over the past year, as well as of his experience of using imagery known from photographing in 3D programs.In “Necc” (net) Zsófia Somogyi reports on the exhibition Women on Women. All (but one) photos are made by women whose view of world, their social background and artistic context are totally different. One objective of the exhibition is to involve those different artistic worlds in a dialogue.Two articles deal with the József Pécsi Photo Artistic Scholar-ship: Zsófia Somogyi reports on an exhibition of four young photographers – Zsófia Bérczi, Sarolta Szabó, Judit Elek, Tibor Gyenis. Zsuzsanna Kemenesi reviews highlights of the history of that prominent scholarship. At the same time she makes the Readers acquainted with the ideas, opinion and memories of some form-er winners of the scholarship: Zsolt Péter Barta, Lenke Szilágyi, Ágnes Eperjesi, Barna Illés.In “Three exhibitions in Switzerland” Zoltán Fejér reports on not just some ordinary exhibits: Miroslav Tichy has been fascinated by women’s figures. For long decades he went on photographing on the beach, in the street, on the square, in apartments and dressing rooms, in showers and snack bars. He himself used to assemble his camera of tins and spectacle lenses. Pictures for “The Art of the Archive” show have been selected from about one million photos of the City of Los Angeles Police Department™ made over the period 1920 to 1950. At the third exhibition portrays of photographers made by Louis Michel (Misha) Auer Swiss photo artist – art collector, have been on show.Rinko Kawauchi born in l972, is one of the youngest Japanese photographers. He studied art, used to be assistant and co-worker in photo studios, finally he has realized himself, and he makes photos “for his pleasure”. Europe is just about discover-ing him. Gábor Pfisztner’s essay “On the bounds of existence and non-existence” assists us in that discovery.The hero of Zsuzsanna Kemenesi’s article – “Co-media or book illustration in the photography”- is Cuban born Abelardo Morell professor of the Massachusetts College of Art. The article deals first of all with the photo illustrations of the “book of books” – Alice in Wonderland.The latest part of Zoltán Fejér’s series “Literature and Photographing” is about the photographing writer, Gyula Illyés. During his journeys on the occasion of the 1934 Moscow Writers Congress he shot several rolls of film; those photos have been published among others in the travel diary “Russia”. In “Excerpt” Szilvia Parti presents Kata Sugár born as Katalin Ágnes Kalmár. Kata Sugár with close ties to the socio-photo movement – whose name is often cited together with Kata Kálmán and Klára Langer – began her career in photographing in the late 1930s or early 1940; after seven or eight years he career came to a tragic end. The greater part of her heritage is made up of portrays of peasants, workers and work illustrations.“The unknown acquaintance” is a short biography of the Magnum photographer, Werner Bischof (1916–1954) by Péter Baki, introducing Werner Bischof’s photos.The previous issue of Fotóművészet contained a report on Ignác Pioker one-time Stakhanovist champion worker’s photos. The author – Ferenc Markovics – is still looking for an answer to the question, how could that part of the prominent person’s life and activity remain hidden for more than 50 years?Etelka Baji visited the exhibition Young America, The Daguerreotypes of Southworth & Hawes in New York. Albert Sands Southworth and Josiah Johnson Hawes used to work together from 1843 to 1863. It was their oeuvre of studio portray and group photographing that made the two of them immortal photographers.Zita Sor commemorates János Novomeszky (1955–2004). The photographer, art collector and Maecenas lived since 1984 in the USA. The Novomeszky Galleries were opened in Las Vegas. Having returned to Hungary he was planning to open an international photographic centre in Budapest…Endre Schwanner’s monumental series on the history of photo technology, From Leica I to Nikon F6 continues. The present third part – compiled with the same thoroughness and on the same level as before – continues reviewing the development of camera manufacturers’ autofocus systems until 2000.Why don't we believe in digital ‘‘photograph’’? – Gábor Pfisztner asks the question in the title of his article. ‘‘Firt of all it is to examin what can be considered authentic, why we believe in somehing, what constitutes the basis of that belief,’’ he points outSubject-matters of the latest sections of József Rák’s digi Trend series are Image sensor chip dimensions; Is digital APS coming?; CCD and/or CMOS?Aim of Sándor Tátrai’s new series comprising four articles is to answer questions on Colour Management, and to present means and instrumentation of colour management.Albums of Péter Timár’s bookshelf: Young America, The Daguerrotypes of Southworth & Hawes; Atelier Adamson; Diana Michener: Dogs, Fires, Me; Diane Arbus: Magazine Work; Abelardo Morell: Camera Obscura; Károly Hemző: Only horses; TEKODEMA group.
