SUMMARY– 2023/3
András Bán: "The birthplace of a new, consistent photographic vision" - Iván Hevesy and the beginnings of modern Hungarian photography
András Bán's study of Iván Hevesy covers practically a single decade, from the period of consolidation beginning in 1957 until Hevesy's death. The article seeks to answer the question of the external and internal obstacles that prevented Hevesy's photographic theoretician activities from flourishing during this period.
Szilvia Csanádi-Bognár: Between tradition and forgetting - Marcell Esterházy: Timelines, MODEM, 26 August - 26 November.
Marcell Esterházy's latest exhibition was held at the MODEM in Debrecen. Szivia Csanádi Bognár wrote an exhibition review about the nature of the exhibited works and the artistic approach, in which she places Marcell Esterházy's pieces in a theoretical context as a documentary approach.
Judit Csatlós: The keepers of the seeds - Rencontres d'Arles 2023, Awakening to self-awareness
The Rencontres d'Arles festival is as important an event in photography as ParisPHOTO. This year, it gathered and presented photographers' work focusing on environmental issues in the frame of a series of exhibitions. A selection of this year's festival's concept, some of the creative approaches and photographers are brought to the audience by Judit Csatlós.
Gábor Ébli: Photo, identité, photo identité - Photographic curiosities from the collection of Mihály Szarvasy in New York
Living in the US for about six decades now, Mihály Szarvasy, initially trained in Political Science at Columbia University, is known as an art dealer, adviser and collector specialising in hungarica. The photo section of his collection offers vintage prints by Brassai, André Kertesz, Martin Munkacsi and others and includes psychologically telling portraits of leading artists.
Gábor Ébli: Do we see what we are looking at? - Photo-based selection from the collection of Csaba Tóth
Trained in law, Csaba Tóth works as a regional executive of a leading global media corporation. An avid collector of conceptually minded contemporary art since the mid-2000s, he rears a liking for photo-based works that challenge our everyday perceptions by visual playfulness and humour.
Zsuzsa Farkas: Making the world accessible through stereoscopic images - Conversation with collector Sándor Felvinczi
Stereo photography is practically as old as the photography. The method was known, and stereophotography was popular in the 19th century. The medium was widely used, and the collectors' circle developed continuously. Zsuzsa Farkas led a conversation with a Hungarian collector, Sándor Felvinczi, about the most exciting items in his collection.
György Zoltán Fejér: The first hundred years of the Japanese photographic industry
Japanese photography and Japanese photographers have been the subject of international interest for decades. Zoltán György Fejér's article covers the first hundred years of the Japanese photographic industry up to 1945. The report is essential because it gives an insight into the popularity and accessibility of photography to the people of the island nation.
Kemenesi Zsuzsanna: Mary Ellen Mark: Falkland Road
The Steidl publishing house has republished Mary Allen Mark's Falkland Road. Zsuzsanna Kemenesi wrote a review about the book and this project of Mary Allan Mark.
Anne Kotzan: La Gacilly-Baden Photo
This year, the Baden Photo Festival's motto was the Orient. Anne Kotzan has produced a summary of the artists and their series presented at the festival.
Gábor Pfisztner: The silence of the atelier - The exhibition "Catalogue" by István Halas at the Szent István Király Museum in Székesfehérvár
The St. Stephen the King Museum organised a retrospective exhibition of the works of István Halas, entitled Catalogue. The selection spans several decades, and readers can read an analysis of Halas' working methods and vision by Gábor Pfisztner.
Balázs Zoltán Tóth: The kaleidoscope of living reality - Some aspects of Iván Hevesy's photographic theory
Unfortunately, Iván Hevesy's work as a photographic theoretician has been little integrated into the thinking of Hungarian photography. Balázs Zoltán Tóth's article aims to mitigate this gap by introducing the reader to Hevesy's thoughts in the 1930s, his relationship to photography, modern photography and his theoretical work on these subjects.
Olivér Tóth: "The wonderful thing about photography is that as time passes, everything becomes more and more precious"
György Stalter has been an important figure in Hungarian photography for decades. In his conversation with Olvér Tóth, he talks about his pictures, how he started his career and, most importantly, what inspired him to keep making new projects and observations.
