Experimental Use of Photography in the Collection of the ICA-D
Research | 3 January - 30 December 2011, 15:10
To what extent had the medium conscious, medium analytic commitment or sensitivity, strongly present in the unofficial practice of the seventies and realized mainly in the fine art / experimental use of photography, continuity in reaching the youth who started their career in the nineties during the regime change? Or the “exploding” photo use of the nineties evolved along some completely different cultural influences and ideas on visuality? This is an important aspect of our research. (illustration: Balázs Beöthy - Hajnal Német: Hajnal Sometimes - Balázs Anywhere 1, 1997-1999)
It is exceptionally fortunate that the promising opening of ICA-D in the second half of the nineties not only created a community place and a possibility to exhibit for the generation that started off in the nineties but also a collection was made from their works. A quarter of the more than 200-piece collection is photo or photo based work that is of cardinal importance from the point of view of my subject matter detailed so far. Thus, these works can be examined collected in one place. It is a fact not in the least to be neglected that the subject of my empirical research that is the photo/photo based part of the ICA-D collection is made up of the works of artists with a still forming and indispensable oeuvre: Balázs Beöthy, Hajnal Németh, András Bozsó, Lajos Csontó, Gábor Gerhes, Pál Gerber, Tibor Gyenis, Tibor Várnagy, Ágnes Eperjesi, Péter Gémes (1951-96), Antal Jokesz, Zsolt Keserüe, Endre Koronczi, Dezső Szabó, Pál Szacsvay, Tamás Komoróczky, Kriszta Nagy, Attila Szűcs and András Gál.
The photo specificities described above (analog-digital switch, indexicality, performativity) are also the aspects of my research. At the same time, I’m also trying to find the answer to the question: to what extent had the medium conscious, medium analytic commitment or sensitivity, strongly present in the unofficial practice of the seventies and realized mainly in the fine art / experimental use of photography, continuity in reaching the youth who started their career in the nineties during the regime change? Or the “exploding” photo use of the nineties evolved along some completely different cultural influences and ideas on visuality?
Perenyei Monika
The photo specificities described above (analog-digital switch, indexicality, performativity) are also the aspects of my research. At the same time, I’m also trying to find the answer to the question: to what extent had the medium conscious, medium analytic commitment or sensitivity, strongly present in the unofficial practice of the seventies and realized mainly in the fine art / experimental use of photography, continuity in reaching the youth who started their career in the nineties during the regime change? Or the “exploding” photo use of the nineties evolved along some completely different cultural influences and ideas on visuality?
Perenyei Monika
