SUMMARY 2009/2
Sándor Bacskai interviewed Rudolf-Prize-Winner István Lábady photographer known mostly for his fashion photos: “More and more I have had a feeling that commercial and fashion photos are not enough (to me), I need something else. When I am working, the work seems to be the most important, but in fact it is not so much an essential part of my life. It takes up a lot of time, and as result quite often the essential is lost to the advantage of the inessential. Therefore, I have thought, I have to take time for things essential to me.”In Happy artist life Sádor Dobos writes about the artists colony or artists residence network – Artist in Residence: “The mortal artist can become a happy Artist in Residence by applying for it. Application conditions are hard, and the competition for getting a place is fierce. University degree in art is a basic condition for getting a place with scholarship.”“MA/GÁT fotózták” has been the joint photo exhibition of Ferenc Markovics and György Gáti. Psychologist Dr Jenő Ranschburg said in his opening speech: “These photos are separated by hundreds or thousands of kilometres or by many years … and yet the pictures are closely related. They are talking about sexuality, death and about the hope symbolized by two rainbows talking to us – one spread on the wall and the other one from heaven.”Károly Kincses comments on Judit M Horváth’s latest photo collection: “The title (of the collection) is Delusive appearance but it is deceptive because the appearance not at all delusive. Much more it is impressive, emotional, something existing… There is no life on the picture. But looking at the picture, our own life might revive which we are both part and not of it, we can be viewers or spectators but also become imbued. And to tell the truth, this is what art is most of all meant for.In Mobile Antal Jokesz comments on Ágnes Palotás pictures: “In the light of her late debut and her first individual exhibition, one cannot talk about the selected video recording devise – the mobile phone and its characteristics. All the more so because in the case of Palotás the deliberate use of the devise has been going hand in hand with the development of sort of the creator conduct.”Alexa Csizmadia and Zsófia Somogyi have co-authored the essay on Krisztina Erdei’s series Model. “Erdei relates »things« apparently excluding each other. Depth, shabbiness, plain presentation of body layers become part of unusual combinations. But the neutral, almost alienating visualisation excludes the self-reflective interpretation or the biographic decoding. However, what is probably of interest, is not who, where and when but what he/she has seen; closely and clearly.”“…each photo is an irreplaceable time-capsule” – says Dusan Stulik researcher specialised in photographic materials at the Getty Conservation Institute, in an interview made with him by Zita Sor and Zoltán Balázs Tóth during a course – Fundamentals of the Conservation of Photographs – held in Pozsony (Bratislava, Slovakia).The title of Anne Kotzan’s article is A silent rebel, or the poet with camera. Discovering Saul Leiter – due for long. The viewer’s attention is attracted to Leiter’s photos by uncommon perspective, by playing with fuzziness and reflection, as well as by soft, harmonic-esthetical colours… Being a silent and extremely reserved personality, he has never strived for being in the limelight.”In Commonplaces with prairie Gábor Pfisztner presents Robert Adams 2009 year laureate of the Hasselblad Foundation. “Adams has been declared by many to be an expressly conservative photographer not just because of his fanatically using black-and-white photo material or of the lack of colours, but also because of his views of photography, rejecting the decisive movements and changes in the past decades.” nThree articles by György Szegő are published in the present issue. In the first one he praises Hannes Kilian one of the most prominent photographers in the 20th century; then Liselotte Grschebina born in Germany who later went to live in Israel in the second article. The exhibition of both artists was staged in the Martin-Gropius-Bau in Berlin.In the third article – Photographer PR and fragment history – Szegő comments on the exhibition Opening the frontiers in Hungary – 1989. Photo artist Tamás Révész has published an interesting correspondence which seemingly gives lots of information about a figure unknown until now, on a Révész photograph – while in fact condensing the history of the 20th century into a few sentences.In the latest – 6th part – of Endre Schwanner’s series – Social co-lumn – the author talks about the 1970s. The photographs revive the memory of the opening ceremonies of Tamás Féner, Péter Korniss, Sándor Nagygyörgy, Károly Hemző, Lussa Vince’s exhibitions.Zoltán Fejér writes about the (Colour) photos of the Kublin brothers. Tamás Kublin had emigrated in the late forties from Hungary. From 1949 on he lived and photographed in Paris and Zurich. From 1951 to the mid-1960s he used to work for Harper’s Bazaar magazine. After his death his son János Kublin succeeded him.József Borsos had been a painter in the Vienna Biedermeier epoch, later he became a photographer. His works painted with light were highly appreciated, he was awarded prizes by the emperor and the Vienna Academy; both the Hungarian aristocracy and the cultural elite praised his portraits. Exhibitions in the Hungarian National Museum and in the Hungarian Photographic Museum have been the apropos of Zsuzsa Farkas’s writing.Chapter heading of the third part of Attila Montvai’s series on photo-technology The relationship between the measurable and visible parameters of photography (Photographing in the binary photography) are Optical resolution – The input is the lens … the output is a numerical product – Hardware effect e.g. blooming – The MFT.This time Péter Tímár has put only two albums on his Bookshelf: Joel-Peter Witkin by Eugenia Parry, and David Hamilton: Twenty Five Years of an Artist.
