Rákosi Péter: Left & Right
According to Vilém Flusser, the philosopher of
photography, post-historical begins with photography. Péter Rákosi starts his
series after history – that is, the system-change, about demonstrations that
were still attached to history and even formed it. The dates 15 March, 23
October, 1 May stand for past revolutions, fights for freedom and class
struggles that have since become events of commemoration. For the past ten
years, the photographer has been documenting with his plain pictures, how the
stories connected to these dates lose their original content. How the meaning,
character, iconography, social composition and psychology of the once
party-state festival (1 May) changed; how the holed flag of October became
hollow, and how different, new (?) contents become rooted in the vacuums).
Thus, the cog-wheel – earlier the symbol of industrial work – is not the
instrument of the “transmission” of the ideas. The people on the pictures
become the requisites of the past, mummies surviving their own deaths – the
losers of the change. The photographs of Péter Rákosi have transformed history
into past factum. (János Palotai, art
critique)
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Tehnica Schweiz (cv)
Gergely László & Péter Rákosi, since 2004
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Commuting artillery, 2004-2006 The photographed artillery troops,
the members of the Bitskey Gáspár Hagyományőrző
Tüzéregylet, Nagykáta Barátainak Köre Hagyományőrő
Tüzéregylet, and the Magyarország Felfedezői Szövetség Koroknay
Dániel Tüzércsapat keep the memmory of the victorious battle of
Tapiobicske (1849 April 4) alive. During this battle the hungarian army
defeated the austrian. In 2006 we rephotographed some
members of the reenacting units. |
Group-photo of the Roma-row in Lak, 2005-2006 Until
summer 2005, we made as many visits as possible in order to gather the locals
into the field of the camera, but all steps of our project were accompanied
by failure. On our second go, we managed to capture about half the population
of the row. (ca. 150 people) For our second shooting we organized concerts
and a free-buffet. The
image we took with a large-format camera (9x12 negative), we printed it
250x2000 cm. We mounted it at the beginning of the row, it was stolen in
three days. The entire process was documented on video (27 minutes). |
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We,
Rákosi Péter and I, have been secretly following Mr X to art venues for half
a year. We have also done research in the photo-archives of galleries, in
search for picture with him on it. Than we contacted him, and asked him to
stand portrait for us under studio conditions. This way
we created an exhibition calendar, from 2002 until now, in which by following
the root of Mr X, one can get an overview on the recent history of Hungarian
art places. Underneath
the images of our research (10x15) the titles, the places and the dates of
the venues were stated. They were exhibited in chronological order. Next to
this, we exhibited the portrait of Mr X. (80x100 print from 6x7 negative) The Mr X project was
exhibited in September 2005, in Trafo Gallery, |
We
searched the ZSARU, Hungarian police-magazine for all identikit drawings that
were published in the past 5 year. Out of those we made a selection. For each
drawing we were looking for a model, who would carry characteristics similar
to the drawn person. These people we took portraits of with a large format
camera (4”x5”) |
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Nagycsanád (1), Nagyszentmiklós (2), Perjámos (3),
Németszentpéter (4), Zádorlak (5), Újarad (6), Angyalkút (7), Temeshidegkút
(8), Lippa (9), Lugos (10), Karánsebes (11), Mehádia (12), Temeskutas (13),
Versec (14), Fehértemplom (15), Susara (16), Pancsova (17), Révaújfalu (18),
Nagybecskerek (19), Detta (20), Csák (21), Újpécs (22), Temesvár (23),
Temesrékas (24), Hidasliget (25), Temesgyarmat (26), Szentandrás (27),
Merczyfalva (28), Szakálháza (29), Billéd (30), Nagyjécsa (31), Csatád (32),
Garabos (33), Zsombolya (34), Óbesenyő (35) At the time, the journey led through three counties,
Krassó-Szörény, Temes and Torontál. To take the same journey, now we had to
cross national borders. Following Kempelen's footsteps on the basis of his
own notes, we spent a week in the |
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Katarina
Sevic & Gergely László
House Museum
Three years ago, in 2003, thirteen years after the fall of
Yugoslavia, Serbian citizens were allowed for the first time the to enter
Croatian territory without visas. Finally, people had the possibility again to
go to the places along the seaside they longed to visit for so many years, some
of them even to visit their summer houses. By now, many of these houses have a
‘new’ owner, or have been destroyed, damaged, or robbed.
The family's summer house was build in 1972, in Zuljana, a small village on the
In the last three years, every summer, we spend a month there, trying to
restore the house by ourselves. Just the clearing of the rubbish took more than
a week. During the week, in and around the house, we came across different
objects, some of which we kept. Each one of them brings back different feelings
and memories.
Slowly, they become readable and bear witness to the history of one house. This
is why we have decided to try to map the past of the house by cataloguing the
found objects and by organizing them into the "
We devided the objects in to 3 sections:
1. xxxx - 1971.
The walls of the summer house were erected on the ruins of a very old house.
Objects in this category are from the time before the buying of the location
and building of the summer house in 1972. Most of these objects were deep in
the ground, damaged, and corroded.
2. 1971. -1990.
Djordje Sevic built the summer house using the layout of the ruined edifice in
the ground and the scattered old stones lying around. Second section contains
the objects that belonged to the Šević family during the summers they
spent there from 1972 to 1990.
3. 1990-2002
The last sections is of those objects that arrived to the location with the
events of the war. Unfortunately we have thrown away most of them during the
clearing, so only a few of them remain and are included in the Museum
collection.
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Dániel
Zafír, Gergely László & Miklós Surányi
Krieg der Zahlen / Number War
24.06.2007
We were guestes
at 7.Stock, a collaborative
artist studio in
Throughout this one week, we addressed the inhabitants of Neustadt, a
neighbourhood known for its alternative culture and revolting past, to
particpate in a game which is primarily played by youth in Hungary, in fields
and forests.: Number War.
Rules of the
game:
- There are two teams, blue and red. Each team has a flag, blue and red. Each
participant is wearing 4-digit numbers on their heads, blue and red.
- Both teams hide their own flags. The goal of each team is to find the flag of
the other team, to conquer it and return it to the base.
- If the number on the forehead of any participant is called during the game,
he/she falls out of the game.
We arranged to
play this game in the streets of Neustad, with the participation of the local
communities.. 50-60 people attended the game.
We documented
the process of preperation, the territory of the game, its houses, yards,
streets, playgrounds, parkinglots, possible spots for hiding the flag and the
game itself on photographs. The portrait-series of the participants was made by
Miklós Surányi.
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Gergely
Laszlo - cv