SUMMARY– 2024/1

Judit, Csatlós: The anxiety of the vanishing self - Redesign, Dunaújváros, ICA-D, 24 November 2023 - 19 January 2024.
The ICA-D in Dunaújváros organised an exhibition titled "Redesign" featuring selected works by young photographers. Judit Csatlós presents the exhibition and the artists.

Gábor, Ébli: Bread factory capriccio - International photography from the 320 degree collection of László Juhász
Photography from China and Mexico in the 320 degrees Collection of László Juhász Aiming to set up by industrial conversion a new art centre in lieu of an old factory in the town of Siófok, businessman László Juhász arranged there a first-class exhibition of photography from China and Mexico in 2009 and 2010, respectively. While the project has not materialised so far, the works, now in his private collection, call for a new exhibition.

Gábor, Ébli: Open geometry. Photo-based works in the Paks Municipal Art Collection
Initiated in 1980 by the leading neo-avant-garde artist, Károly Halász, the Art Colony and the subsequent Municipal Art Collection of Paks have attracted a range of artists experimenting with photography. Although the building has recently been closed the collection awaits a revival.

Zsuzsa, Farkas: Industrial Register in the Archives of the Capital of Budapest, 1857-1924
Zsuzsa Farkas has conducted archival investigations to uncover information about 19th-century photographers in Budapest. The official registers of the city contain hidden information that yielded surprising results. Farkas' research highlights the potential of this type of investigation to reveal interesting facts..

György Zoltán, Fejér: Allez les Français !
It is often assumed that the German, Japanese, and American camera industries are the only ones that have been successful. However, many European countries had their own camera manufacturing and development capabilities, some stronger than others. This article by György Fejér Zoltán highlights the development of the French camera industry and the distinctive brands that emerged from it.

Balázs, Gáspár: From painting academy to scandalous nudes to emigration - Imre Santhó's life and paintings (Part I)
Imre von Santho is a relatively unknown name, even among Hungarian professionals, most likely due to the fact that his work was mainly developed in pre-war Germany. However, Fotóművészet is pleased to be the first to report on his rediscovery, thanks to Balázs Gáspár's in-depth article. Balázs Gáspár presents the characteristics of the contemporary periodical graphic world to place Imre von Santho's visual world more accurately in the period.

Károly Kincses: Here I am, there I am, guess who I'm not!
Ágnes Pataki Vukov is a photographer who creates unique self-portraits by intentionally concealing her face in the pictures. Her approach has caught the attention of Károly Kincses, who wrote about it in our current issue. Kincses raises thought-provoking questions, such as whether Vukov's method can be considered a self-portrait and what insights we can gain about her from these pictures. He also ponders whether Vukov is trying to convey anything specific about herself through these images. Is it the veiling that is important, or is it the viewer who either accepts or questions this practice?

Viktor Papp: About the circumstances of creating a panoramic photograph - Constantinople in 1868
A rare panoramic photograph of Constantinople from the 19th century has recently been discovered. The photograph was originally owned by Baron Ferenc Révay, a nobleman from the highlands, and was later acquired by the Hungarian National Museum in 1916. This photograph has a unique history that makes it a significant piece in the history of photography. Viktor Papp's article provides an intriguing insight into the world of photography in Constantinople during the late 1800s, highlighting the special role of panoramic photography during that time.

Beatrix Philpott: Captured identities: photographer families in the spotlight
The 19th century photographers who worked in photographic studios made a living from their commissions, and their studios and working conditions were tailored accordingly. Although we know them primarily through the images they produced on commission, they also had personal lives, families, and friends who they captured using their photographic equipment. Beatrix Philpott's article delves into this aspect of their lives and explores how their personal connections, social status, and relationships were reflected in their photography style when they were not working on commissions.

Gábor Pfisztner: Photography and art? -Perneczky on the "use of photography" in the late 1960s - Reflections on Géza Perneczky's exhibition at the MissionArt gallery from 25 October to 24 November 2023
Gábor Pfisztner wrote an essay that discusses the shifts in Géza Perneczky's view on photography and how he defined the connection between photography and art. This essay is important because it delves into the changes in Perneczky's ideas and artistic expressions within a wide global context.

Zsófia, Somogyi: "...what a face it can put on me...... my relationship with God ..."
It's rare to find a photographer who chooses to express their relationship with God through their work. However, Boglárka Zellei has been doing just that for years, repeatedly capturing this connection in her pictures. In a detailed article, Zsófi Somogyi provides an in-depth look at Boglárka Zellei's artistic journey.

Mihály, Surányi: Gábor Kerekes - Alchemy
For Gábor Kerekes, the world of alchemy was a dominant theme for a long period. Mihály Surányi's article explores some iconographic aspects of this project by comparing the author's photographs with alchemical representations.

Zsuzsanna, Szegedy-Maszák: On the set of the past
The exhibition "The Prediction of the Past - Photographs of Zohar Studios as interpreted by Stephen Berkman" at the Mai Mano House presented a truly remarkable and thought-provoking body of work. This exhibit raises important questions that are more relevant than ever. What does it mean to rewrite the past and what effect can changing the past have on the future? Moreover, what can we consider as changing the past in the present? Zsuzsanna Szegedy-Maszák's insightful analysis introduces the reader to the material presented in the exhibition.