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Water – Exhibitors

Bácsi Róbert László


Tag Jur – Armenians sitting in hot water (Karabakh series), Winter 2011

About the series Karabakh 2011 Winter
An unrecognized country is just like a recognized one but it’s not invited to the Olympic games, half of the male population is in arms, commerce is difficult. There’s a border with unrecognized immigration officers, administrations with unrecognized seals, government with unrecognized ministers. The secession of the Caucasian territory populated with Armenians was declared after the dissolution of the Soviet Union. A war broke out between the Republic of Azerbaijan and the majority ethnic Armenians of Karabakh. Azerbaijan still considers that Armenia expropriated the territory with a population of 140 thousand inhabitants. 35 thousand people died in the war. Officially, the two neighboring countries are still at war.

Darócz Csaba


Proportions, 2012
The image of a cargo carrier ship heading to the Adriatic port (registered since the 13th century) was taken from the castle in Rijeka. The town, called Fiume then, was a major sea port of Hungary in the 19th century; later it became a main trading naval hub for Yugoslavia and today’s Croatia. The photo earned first place at the Hungarian Press Photo Awards in the Nature and Science category in 2012.

Dóka Béla


Uncle Karcsi’s Bath (from the series The Sundays of Life)
About the series The Sundays of Life
The unknown estate of Béla Dóka could belong to any of us, given we can enjoy the beauty of the moment, be like children even as adults, or lose ourselves in nature. Dóka still can. Furthermore, he can turn these sentiments into photographs in order to share this joy of life with his audience. He captures the hardly expressible that keeps one going on and entails a notion of harmony.
Not only are his landscapes appear as backdrops to the silhouette of his woman, but also his family appears as integral part of nature. Everything and everybody belongs to the great fullness that would not be complete without one element missing.

Ember Sári


Album for M (series) – No. 12; No.13; No.31

This is an album of a circle of friends,
an archive,
which is floating between being a cemetery of facts and a garden of fiction,
I dedicate this album to M.

The album is beyond the archive, because it is aware of picture not being factual trace, but the result of a subjective editing, amplifying or neutralizing particular factors. Tangible, closed-format, round unit; from us exfoliated and still about us – solid, essential, yarning, narrative object.
Sometimes situations have to be arranged to separate emphatic and unaccented elements, sometimes things are already in their place. However, the common reality uniting the album is a natural aptitude.
I am looking for the ‘meaning’, at times I arbitrarily give it to the participant’s mouths: say this, now you are that; other times I wonder how ready things are in creation. These are the naturally fixed contents, codes and topi; in their variations coming back and back they form our lives.
While things most naturally happen around us: (experiences of love, friendship, desire) M is selecting with me, not because he sees when I am taking photos (today no one is shy any more in the presence of the camera) but because he is conspiratorial within a mutually imagined, in dreaming and waking lived reality.

after she came home, before I left again (Daffodil series, 2008)

The stories around the images happened mostly in Scotland, where I stayed for 6 months with a scholarship. I have arrived there when daffodils were coming out of the earth – even from the most unexpected places- then they were flourishing for a months, and I left when they went dry.

Fabricius Anna



Lifesavers (Hungarian Standard series), 2007

About the series Hungarian Standard
Anna Fabricius’s series, “Hungarian Standard” depict five people organized into geometrical forms, clad in the uniforms of different professions. These photos are dominated by the interference of order, uniform and personality.
“The series shows that kind of people and groups, who works in uniform. These kind of professions are so typical and classical so it has special marks of style which are known by everybody. It was so important, that everybody do has prefiguration about these professions irrespectively about gender or age.
In spite of my previous work (Cavalrymen and Equestriennes in which the members of each group do different motions, but those 4-5 different motions give one characteristic description about the group) this series shows the groups in the same position in their own environment. The same position is so important because of the similarity of people and the clear definition of each profession. The only difference in the ‘five people position’ is the direction of look and posture of body. These iconic motions clearly show the essence of each professions.”

Fish are alive and swimming under the ice during winter (VAJ series), 2011

About the VAJ series
The Vaj-Voi series is inspired by the familiarity of languages of Hungarian and Finnish (and Mansi). The photographs are presented with white borders to appear as giant polaroid pictures.  Under the photos, there are handwritten descriptions in both Finnish and Hungarian to illustrate the similarity, while the photographs reflect on the associations thus created.

Fátyol Viola


Land art in the Danube Delta 2, 2007

About the exhibit these photographs were shown at the Mai Manó House before
Countries of this region are very different. If we try to find a common denominator, they all have the Danube run through them for shorter or longer stretches, mediating among peoples, regions, and countries. It conveys culture, economic goods, ways of life, good and bad, everything. All this is, in fact, contained in the poem of one genius Hungarian poet that was written in 1936 – yet, time has not transcended even one word, one article of it.
The exhibition shows the everyday routine of the Danube revealing its various faces that almost imperceptibly surround our individual faiths and events of our common history as well for centuries. Building on the river’s characteristic features, not only do contemporary works and archive shots visualize the distinctive nature of particular places, but they also portray the water with its general details and, at times, they discuss the relationship between human and water in surprising context. (

Gőbölyös Luca


Parliament, Budapest, Hungary (Background series)

About the series Background
At the same time as the “single” lifestyle is gaining ground, post-Socialist countries, especially today’s Hungary, are characterized by a revival of traditional and conservative female roles – reinforced by the official rhetoric of the state. The media not only comments on women’s changed role in society, but also contributes to defining that role, thereby helping to sustain such socialization…
My photo series entitled Background is based on an extraordinary set of images: 19th century, Victorian-era photographs of infants and small children. In the period from the 1850s to the 1870s, exposure times were so long that it was impossible to photograph infants on their own because they would not have stayed still long enough. Their mothers had to keep them still in their laps. What makes these photographs interesting is the fact that the mothers were covered, and so, they more or less blend into the background, or rather, they themselves become the background in these studio photographs of children. From today’s perspective, the end results are strange and prompt wide-ranging associations. The mother is present and yet not present. She helps by holding the infant, but remains invisible, and cannot be present in the photograph of the child. In a way, this symbolizes the separation of the two lives and the beginning of a new life for both of them – in totally different ways. For me, these images represent the institutional system’s attitude to women as mothers.
My child was born last July, turning my life, which had been busy with very intensive work right until the end of the pregnancy, around. The Background series explores the nature, place and social perception of my new role.
The photos that served as the basis of the series touched me so much that I decided to take similar photos of my daughter, Alma. Hiding and peeping from behind a veil places the role of the mother in a very different context – a role everyday politics has extolled as heroic. In contrast to the Victorian portraits, my photos were taken outside, in different regions and cities, since we travel a lot.
As a result, the photographs also record our journeys, just like traditional postcards or Facebook posts do. This comments on the changed social status and role of photography, and also on the fact that nowadays people’s private lives becomes public almost immediately. My photographs are digital adaptations of the Victorian images but they are not manipulated technically, genuine documentations of my staged situations.
They are portraits of my child and also the metamorphoses of maternal identity.
(from project description)

H. Szabó Sándor

Hajdu D. András


Beirut in Baia Mare, Romania (The Wall We Call a Fence series)

About the series The Wall We Call a Fence
The idyllic town of Baia Mare in Romania hit the headlines in the June of 2011 when the mayor had an apartment block in Horea Street where Gypsies live separated off from the town by a two meter wall. Then one year later, Romany people began to be evicted from Craica, an illegally built slum on the edge of the town. The one hundred families kicked out so far have been compelled to move either to the premises of a chemical plant recently closed because of environmental pollution (Cuprom), or to the apartment block enclosed by the wall. Their evacuated shacks have been bulldozed to the ground. The remaining residents of Craica have a choice: either lead pollution, or rats in the Horea Street apartment block. They fear for their squalid homes, in danger of demolition, or for their children, exposed to everyday violence in the new ghettos. The mayor has made it clear: eradication of the slums of Craica is just the first step. The goal is to get rid of these families. The legal services protest in vain: Catalin Chereches, the most popular local politician in the country, was re-elected by the residents of the town with a sweeping majority in the June of 2012.

Hangay Enikő


This is My City, Budapest

Friends, Budapest

About the exhibit these photographs were shown at the Mai Manó House before
Countries of this region are very different. If we try to find a common denominator, they all have the Danube run through them for shorter or longer stretches, mediating among peoples, regions, and countries. It conveys culture, economic goods, ways of life, good and bad, everything. All this is, in fact, contained in the poem of one genius Hungarian poet that was written in 1936 – yet, time has not transcended even one word, one article of it.
The exhibition shows the everyday routine of the Danube revealing its various faces that almost imperceptibly surround our individual faiths and events of our common history as well for centuries. Building on the river’s characteristic features, not only do contemporary works and archive shots visualize the distinctive nature of particular places, but they also portray the water with its general details and, at times, they discuss the relationship between human and water in surprising context. (

Hartyányi Norbert


Margaret Island, Budapest (series)

About the series Margaret Island
Norbert Hartyányi chose the capital’s “Garden of Eden” as the subject of his series. Otherwise known for observing small communities and for his anthropocentrism, the photographer now guides us through a utopian Margaret Island. Usually reminiscent of a crowded playground in the summer, the park is transformed by him into an immaculate picturesque paradise or enchanted garden – this is how the lens of his camera transforms the almost three kilometers long public park into an all but private court.
Hartyányi began his series Margaret Island, suported by the Budapest Photography Grant.

Krka Waterfalls, Croatia

The photo is from Norbert Hartyányi’s Relax series on leisure activities, showing an example of how water sports can be close to nature. The Krk River’s waterfall and the surrounding national park is a popular tourist destination in Central Dalmatia.

Hermann Ildi



Weekend (series)

In the 1960s, vacation cottages were buildings constructed quickly with simple technology using inexpensive, readily available materials. Their function was to provide an opportunity for the rapidly growing number of city-dwellers to spend quality recreation time outside of industrialized settlements, while still remaining in close proximity to them. Lakesides and riverbanks were the primary development sites; this is how the lake near Oroszlany, which can be seen in one part of my photo series, became a vacation home settlement.

According to the social arrangements of the time, members of “classes” that were wholly different from each other (intellectuals, laborers, party functionaries, etc.) could all afford a vacation cottage within Hungary. In those days, many chose the intimate environment of a private home instead of the trade union’s summer boarding blocks. The lifestyle of coming and going to the weekend house (as a fulfillment of rightful social demands) became accepted and practiced by massive numbers.

My photo series would like to grasp and study the characteristics of the social metamorphosis inherent in the (vacationing) people and the changes in their environment that occurred in the past decades. I would like to recall bygone days with the help of objects, clothes, photographs, and “habits” connected to the houses. In addition, I wish to document the feelings preserved here which cast a different kind of light on the times we live in now.

On the one hand, my photo series is about the weekend houses: the uniform architectural style of the ‘60s and ‘70s, as well as the diverse alterations brought about by new demands. On the other hand, to show people living through social transformation, but still the same, and who have acquired this attitude towards life as their legacy, and who spend every weekend from spring until autumn here: in their weekend houses.

Kallos Bea



Spacity – homeless and young people by Gellért Square on one of the hottest days of 2013

Kasza Gábor


Y (series)

About the series by the artist
Artist Statement

The ’Y’ – the penultimate letter of the Latin alphabet – is the ancient symbol of the bifurcation point, the fork of the road. In the staged photographs the figures are also standing before some kind of crossroads, a decisive moment of crisis. This moment is similar to the catharsis experienced in the theatre or which we can call the experience of confession or recognition, the moment of enlightenment or illumination.

The most important question is sustainability in the shadow of the forthcoming eco-disaster. Our attention often focuses on developing countries, but developed countries are struggling with several similar problems. In these countries poverty is also growing. There are many kinds of diseases, there is environmental destruction, the flattening of human relationships and a feeling of disillusionment too. The society of the for-profit approach promises a happy, well-balanced and ever-growing life in the advertisements. But is it true that the quality of life is improving?  Despite the oversupply and wasteful production of these days, we suffer from the scarcity of essence.
The expansion of knowledge and technological development does not necessarily go along with increased awareness and responsibility.  Change is necessary and the key to it is the deliberate choice of personal values and self-development.
These photographs serve a good opportunity to meet the problems mentioned above in different ways, allowing emotional and sensual empathy compared to the often putative demagogic verbal arguments.
The pictures of the ‘Y’ series remind a sort of sci-fi or negative utopia. This is confirmed by scenery-like use of space, surrealistic situations, however this is mere reality. I do not use montage or digital tricks. I personally find it crucial that every happening, space seen in the pictures are real.  Actually the pictures document performances, which have been created for the sake of the pictures. The factual reality is contrasted with a staged, composed reality in order to express contents that are difficult or impossible to highlight with the means of classic documentary photography since they are deeply buried in the human unconscious.

Kovalovszky Dániel


After Flooding, Göd, Hungary

About the series Green Silence
Nature is resided by the unknown, the unfathomable. The trees are the gateway leading to it. The trees in the forest are not aware of the noisy, suffocating urban existence humans live in, or merely try to survive. The trees simply perform their task for which they were coded by a higher power in bygone times. They are in continuous, invisible motion, always changing, and breathing. While in the “human world” the hopeless rat race, alienation, wars, economic crises are continuous, here, among the trees it all seems remote. This distant, ancient calm embraces those who enter into it. I look for silence when I enter these spaces. The silence that cleanses me of noises and helps me become whole again. I search for the infinite and for the beginnings. For my own beginnings. I seek for the untouched, the everlasting, the perfect in the imperfect. When I enter the forest, I can search and abandon all awareness for a while. A new space is created around me; a space much desired and infinite. I can breathe freely. It feels like I breathe in unison with the trees. In the meantime, it is as if the trees are watching me, as if they were to listen to my wordlessness with ancient wisdom. The trees are witnesses to a disappearing world and I think they know everything about me. I keep on seeking them out, these gates to nature, so that I return to my world, from which I can seek refuge over and over again.
Dániel Kovalovszky

Kudász Gábor Arion


Beach, Nizza, France
About the series Waste Union by the author
Waste Union is the reflection of the ruins grounded in our utopian ideas.

It seems anachronistic and immoral to separate inhabited land from Nature. Cultivated landscapes are not different from lands left intact, for the boundaries between the two dissolved. The influence of urbanization is present in open lands more than in carefully leveled inner cities.

Open space is excessively wasted, yet, it could become the ultimate resource of urban existence, a natural source. The inflation of space is the most visible at the front-lines of the expanding city, where different populated areas collide. With the accumulation of garbage, dumps are about to meet. The memory of garbage heaps is present everywhere, unifying contemporary landscape. A re-cultivated mine dump is the closest we can get to the natural state. Nature does not exist anymore, so any escape into nature, or any harmony with it, is impossible. The time for a hopeful utopia is gone.

During a four-year period, between 2007 and 2010, I travelled across several European countries – Romania, France, Switzerland, Latvia, Croatia, Hungary, etc. – to discover similarities and differences how each nation respects or disrespects the environment, its homeland. The resulting collection of landscapes forms a photographic catalogue of destructive interventions and exploitation. Europe as a land – not as an idea – shows a tendency towards uniformity and decadence. (

Máté Bence



Molnár Zoltán


Demre, Turkey
Demre is a coastal city in the Turkish province of Antalya, which has also become a tourist destination in recent years. The photographer’s image, however, reminds us of how the building fever, which characterized the end of the previous century and brought along considerable commercial growth, was interrupted, thus destroying the illusion of both the real estate market and many hopeful people. (

Móricz Sabján Simon


Mud Country

About the series Mud Country
In Hungary, only 38% of the roads are paved; that ratio is 96% in Western Europe.  In Csanytelek (Csongrád County), 30% of the population lives by dirt roads; in rainy weather, everything becomes impassable. Due to poverty and poor living conditions there are large numbers of people migrating.  According to data published by the European Commission in 2014, every third person in Hungary, that is 3.3 million people in a country of 9.9 million, lives in poverty.

Pályi Zsófia


About the Balaton series
Balaton, the Hungarian Sea

This is a long-term photography project about Lake Balaton, the biggest lake in Central Europe. The pictures show the Central European flavour that is fading away year by year because of cultural changes. During the 1960s and ‘70s, it was a major tourist destination for working class Hungarians and people from the Eastern Bloc. It also served as a meeting point for Eastern and Western Germans who were separated by the Berlin Wall until 1989 but could still travel and meet here. After the collapse of Communism, the region become less popular, slowly becoming dilapidated, visited only by Hungarians. However, a new renaissance can be felt now; foreign tourists appear again, and the old charm can still be experienced.

At first glance, the scenery of Lake Balaton evokes a coastal resort with an endless horizon. But in fact, the water is very shallow, reaching only ten feet on average. The illusions unfold and Balaton remains only a lake although, among the local people in Hungary, it is still said to be the Hungarian Sea.

Riskó Gáspár


Simon Márk


Lacus Pelso – Shallow Lake

The lake from where you can go on, where you can rest, let the steam off, immerse. It attracts the traveller, but it also lets them take a break and poses a challenge. It has a history: for the ancient Romans, the Pelso rows of villas; for medieval Hungarians the system of marsh castles and strongholds; for the modern East-Germans the Plattensee of freedom; and for us, the Hungarian Sea, where langosh tastes good and union holidays are inevitable.
Lake Balaton is all this and more: distance, remoteness, the infinite wandering of the gaze. It is at once finite and infinite, momentary and eternal. It is there in the stones of the houses, in the movements of bathers, it shapes our words, our customs, our songs. Is it a primordial element, a loch, och aye an eye, a mirror of the sky, the mirror of the soul, or the sea inside? These are the questions to which I am seeking the answer.

Spa City

Owing to his line of work, from time to time, Márk Simon has to give photographic account of events, people and locations. Constructed in terms of the three unities, his series on the spas of Budapest is a lot more than a simple account. The photographer familiarly presents the milieu where the otherwise customary and constrained public space role-play is loosened up in the hot steam, and is recorded in images of a relaxed mood. This is contrasted by playful yet strictly composed still lifes, relating a still familiar past when the regular visitors in the portraits were in their prime.

Sopronyi Gyula



We are exploring photographer Gyula Sopronyi’s viewpoint. As we are looking at the pictures, we are trying to place ourselves both into the position and the situation at the same time. The image crops are quite narrow, and yet they are large enough to show and let us see the situation and the environment. A floating aspect.
Judit Gellér

Stiller Ákos


Volunteers loading sandbags at Ócsanálos

Volunteers are loading sandbags at a still standing dam in the water-locked Ócsanálos. Flood occurs when the water level of the river rises to a point that it emerges from its bed. This may happen due to ice jams (for example, the flood of 1838 in Pest), or it may result from the concurrent melting of snow mass (this caused this highest water level ever in 150 years on the upper section of the Danube in March 2006), or it may be brought about by large spring or summer rains.

Szalontai Ábel


Tóth Szilvi



I’m interested in the inhabitants of the city, how they live, what they do, and what they think.
When I`m walking on the streets, I like looking at the people and thinking about them. I’m searching for strange situations with my eyes, and I capture them with my camera.
Usually I ask strangers, and take pictures of them though I have not met them before. There are many different people in the city, and only a few know each other, so every day we see thousands of alien faces, and we might never see them again. We don`t speak with them nor do we look into their eyes, so we don`t make any contact with them. I try to break these situations, stop the people who are interesting somehow for me, talk with them, and take photographs of them. From that moment somehow I know them, I begin to understand them, and from the pictures they begin to live in my mind, and from time to time I think about them. I like to collect memories of their faces, and if I see them again, I secretly become happy.
I want to show the positive part of  life, and seize the pleasures of the moment, sometimes with a little irony to tell about happiness, strange, funny moments or just let them tell us something about themselves. I intend to show the people’s souls in their eyes in my pictures and unfold them to other people.
This series show different cities, most of the pictures were taken in Budapest, and around in the countryside, but there are some from Helsinki and Clermont-Ferrand as well. The images were created between 2002 and 2004. The main purpose of these pictures is to document the similarities and differences of urban life around the world.


There are many wonderful things in the world, but nothing is more wonderful than a meaningful old photo. At this section of the pavilion, you can see water-related images from the curated online and continuously growing public archive, Fortepan. This collection is an open-source platform that relies on the work of volunteers. It is a completely independent civil initiative, which does not depend on public funds.
The name of the archive itself denotes a form of commemoration: Fortepan was the name of a Hungarian photographic film, which was once used by many all over the world.
Organized into a chronological order, currently there are 50 thousand photographs from between 1900 and 1990 available for browsing. All the images can be downloaded in high resolution. The photographic content on the site is licensed under Creative Commons 3.0, that is the images can be used for any purpose (even for profit) as long as the source is indicated, together with the original donor.
Fortepan has become the most favorite site of Hungarian photography lovers. More than three hundred families have donated pictures to the project and there is no counting of the number of newspaper articles, textbooks, postcards or theatrical sceneries featuring these photos. Even one of the greatest Hungarian contemporary poets, Zsuzsa Rakovszky got inspired by these images and wrote a cycle of poems. Her volume entitled Fortepan is to be published shortly (May 2015).
The archive originally consisted only of pictures taken in Hungary, but it has gradually expanded to the area of the Austro-Hungarian Monarchy, and even beyond. Its fame has reached the United States as well. The University of Northern Iowa has launched a similar archive this year called Fortepan Iowa, where they would like to collect pictures taken in the state of Iowa. (
If you are interested, browse Fortepan for photos taken in Italy and find out how Venice or Rome was seen by Hungarian tourists a hundred years ago.