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Cristian Opri\u015f<\/p>\n

Identitate fals\u0103<\/em><\/p>\n

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Retracings \u2013 Uses of Archival Material in Contemporary Photography<\/h2>\n
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Budapest Gallery<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
14 November 2014 \u2013 12 January 2015<\/p>\n
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Curator of the exhibition:<\/p>\n
Gabriella Uhl<\/p>\n
Exhibited artists:<\/p>\n
Ana Adam | Andr\u00e1s Bozs\u00f3 | Lajos Csont\u00f3 | J\u00f3zsef Hajd\u00fa | S\u00e1ndor \u00c1ron K\u00e1roly | Melinda Kov\u00e1cs | Cristian Opri\u015f | Zsolt Olaf Szam\u00f3dy | Antal Tarj\u00e1ni | Bal\u00e1zs Telek<\/p>\n
[\/vc_column_text][vc_empty_space height=”32px”][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]The idea and concept of an exhibition on the use of archives were partly inspired by essays by Jacques Derrida. In his writing on the archiving fever, Derrida endeavours to detach from the archive as an institution what he believes to be a simplified usage where memory is defined as experience, that is, \u2018research launched in search of lost time\u2019.<\/p>\n
The narrative-generating power of archives and collections has been the subject of art, too, which has actively employed archives since the 1970s. Archival search came to the fore as digital collections emerged and became rapidly available online. However, availability was only one thing; it also meant that it provided wide-ranging possibilities for uncontrolled and ill-advised information, that is, manipulation. The subtle balance between the hunger for information and processing \/ reflection also influenced the concept of the exhibition in that it inspired the invited artists to research collections in the broadest sense, and rewrite and fill in the empty spaces of the file cards they singled out. This is a particularly current issue in the case of photography in that it is both the means and the subject of archives and collections.[\/vc_column_text][vc_empty_space height=”32px”][vc_single_image image=”8395″ img_link_target=”_self” img_size=”full” border_color=”grey”][vc_empty_space height=”10px”][vc_column_text]<\/p>\n
Tarj\u00e1ni Antal<\/p>\n
H\u0151si temet\u0151,<\/em> 2014 | camera obscur\u00e1val k\u00e9sz\u00edtett f\u00e9nyk\u00e9p<\/p>\n
[\/vc_column_text][vc_empty_space height=”32px”][vc_column_text]In addition to the means and manipulations of the powers that be, the concept of the exhibition focuses on bringing into motion artistic creativity in the use of archives. The invited artists were free to take their pick from a multitude of archives. Some of them explored communication (war pigeons), some of them drew on the sources of existing collections (private and public, digital archives), closely examining a specific archive document, exploring and interpreting the circumstances of its origin.<\/p>\n
The objective of the exhibition is to highlight correlations by means of texts, photographs and other archive documents, and to initiate a dialogue between the different types of documents and extend that dialogue to our conflict-laden world.[\/vc_column_text][vc_empty_space height=”32px”][vc_single_image image=”8403″ img_link_target=”_self” img_size=”full” border_color=”grey”][vc_empty_space height=”10px”][vc_column_text]<\/p>\n
Hajd\u00fa J\u00f3zsef<\/p>\n
Erd\u00e9lyi M\u00f3r egy napja temesv\u00e1ri postaigazgat\u00f3s\u00e1gon,<\/em> 2014 | digit\u00e1lis gicl\u00e9e print<\/p>\n
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