Public Lecture at University of Technology Sydney
Born in Szeged (Hungary) and presently living in Budapest, Krisztina Erdei graduated from the School of Philosophy and the School of Political Studies at the University of Szeged, and also studied film theory and visual education at Loránd Eötvös University (Budapest). A founding member and curator of Lumen Photography Foundation (www.photolumen.hu) created in 2002.
Erdei’s work will be exhibited in the upcoming Sydney Biennale. PSM is pleased to welcome her to the 2014 PSM Public Lecture Series.
Monday, March 17, 2014, 6:30pm
Level 3, Room 22
702-730 Harris Street, Ultimo
This event is free and open to the public. Bookings will not be accepted and PSM students will be given priority. For full details of
the 2014 PSM Image Studies Lecture Series, please visit:
http://utspsm.com/blog/lectures
by David Burns Events, Image Studies Lecture Series, Lecture
Neighborhood (2008-2012)
Our Holocaust
Studio Gallery
[1077 Budapest, Rottenbiller u. 35.]
Opening: 08.10.2014. 7PM
Opened by: Anna Szász, sociologist
These photos were taken in the Northernmost city of Israel, close to the border with Lebanon. As I was getting acquainted with relatives and friends in a neighborhood at the edge of Nahariyya, I collected stories that ended in homes–abandoned one day or another, objects lost and memories too remote. One can see a long lost object that had been left in the abandoned home of the people taken away, but was then rescued and returned by the neighbors, an image recreated following very specific instructions, a peculiar custom that cannot be discussed in rational terms, and a visit in the junior museum of holocaust survivors. And the rest of it is just quotidian life, as it surrounds all of this.
OUR HOLOCAUST
The third generation after the Holocaust
The Studio of Young Artists (FKSE, http://studio.c3.hu/), the József Attila Circle (JAK, http://
The central theme of the exhibition is the role of the third generation after the Holocaust (here represented by emerging artists under 35) in the memory work necessitated by trauma.
Those of us who were children around the regime changes of 1989 have a completely different perception of the Holocaust as a chain of events compared to the first generation of survivors and the second generation born after 1945.
Our Holocaust-memory is based on thirdhand knowledge; a mosaic of our grandparents’ recollections and various images and media representations. We are 70 years after both the trauma and its immediate memory.
We find it important to examine how contemporary art can reflect on this cross-generational trauma.
The aim of our project is to create works that help understand and process these issues.
We hope to equally represent a wide spectrum of memory work, including societal, political, personal and familial.
The exhibition will show works reflecting on the themes mentioned above and those that the workshops of The Third Generation have dealt with over the past few months.
Studio Gallery
[1077 Budapest, Rottenbiller u. 35.]
Opening: 08.10.2014. 7PM
Opened by: Anna Szász, sociologist
Exhibiting artists:
Anna Ádám
Bernadett Alpern
Lőrinc Borsos
Krisztina Erdei
Dániel Halász
Árpád Csaba Horváth
Gábor Klima
Klára Rudas
Eszter Sipos
Zsófia Szemző
Hajnalka Tulisz
Curated by: Zsuzsi Flohr
Assistant curator: Júlia Gottfried
The exhibition’s partners: JAK, Marom, Memento 70.
* Amir Gutfreund: Hasoa selanu (2000)
Mintatanya
A Mintatanya című sorozat egyik képe alternatív anyagválasztás segítségével teremt uj kontextust a képen szereplő elemeknek. A rekonstrukció miközben megtartja az eredeti 2 dimenziós kiterjedést, visszahelyezi a tárgyakat az eredeti funkció irányába és az anyag és a víz találkozásának köszönhetően, jelzesszerűen annak szerepébe is. A munka a magyar táj és az emberi kreativitás többszörös koprodukciójában alkot napozóhelyet a fesztiválozóknak.
Biennale of Sydney: artists send protest letter over detention centre links
In the open letter, the artists acknowledge that “this issue places the Biennale team in a difficult situation”.
“However, we want to emphasise that this issue has presented us with an opportunity to become aware of, and to acknowledge, responsibility for our own participation in a chain of connections that links to human suffering; in this case, that is caused by Australia’s policy of mandatory detention,” the artists wrote to the Biennale board.
“We appeal to you to work alongside us to send a message to Transfield, and in turn the Australian Government and the public: that we will not accept the mandatory detention of asylumseekers, because it is ethically indefensible and in breach of human rights; and that, as a network of artists, arts workers and a leading cultural organisation, we do not want to be associated with these practices.
“We regard our role in the Biennale, under the current sponsorship arrangements, as adding value to the Transfield brand.
“Participation is an active endorsement, providing cultural capital for Transfield.”
Transfield has been responsible since August 2012 for catering, cleaning, security and transport at Nauru detention centre, according to background documents accompanying the open letter.
The artists who signed the open letter:
The artists are Gabrielle de Vietri, Bianca Hester, Charlie Sofo, Nathan Gray, Deborah Kelly, Matt Hinkley, Benjamin Armstrong, Libia Castro, Olafur Olafsson, Sasha Huber, Sonia Leber, David Chesworth, Daniel McKewen, Angelica Mesiti, Ahmet Ogut, Meric Algun Ringborg, Joseph Griffiths, Sol Archer, Tamas Kaszas, Krisztina Erdei, Nathan Coley, Corin Sworn, Ross Manning, Martin Boyce, Callum Morton, Emily Roysdon, Soren Thilo Funder and Mikhail Karikis.
Here you can find the full letter:
http://images.smh.com.au/file/2014/02/19/5178885/OpenLettertotheBoard.pdf?rand=1392779394530
Le cocon familial
Exposition
16 janvier – 28 mars
Institut hongrois | 92, rue Bonaparte 75006 Paris
photo : Ildi Hermann : Series Daughters
Szabolcs Barakonyi, Ágnes Eperjesi, Krisztina Erdei, Marcell Esterházy, Viola Fátyol, Zsolt Fekete, Ildi Hermann, Gábor Arion Kudász, Balázs Telek, Viktor Váradi
L’exposition intitulée Le cocon familial présente un parcours autour de la photographie contemporaine hongroise qui, loin d’être guidé par un fil conducteur thématique ou stylistique, a pour point de départ le simple fait que les modèles de ces œuvres sont des membres, fictifs ou réels, de la famille du photographe. Cette sélection de clichés analyse la manière dont les artistes utilisent, dans ce contexte particulier de création, le lien particulier qui les relie à leurs proches. Le dénominateur commun à toutes ces œuvres, c’est cette cohésion, tantôt affichée, tantôt volontairement éclipsée, et dans le même temps, les relations de dépendance et d’inféodation qu’elle met en jeu. Les dix photographes ont des approches, des univers visuels différents mais ils partagent la même volonté de s’exprimer artistiquement au travers du système de relation le plus important et le plus intime de la vie humaine.
L’exposition examine, sans prétendre à l’exhaustivité, la manière dont ces artistes contemporains, aux frontières de la réalité et de la fiction, représentent, mettent en scène, dirigent, utilisent les personnes qui leur sont les plus proches au service de leur création. En effet, ces liens fondateurs sont riches de possibilités : explorer les processus psychologiques, montrer le corps nu, évoquer les schémas imposés ou les valeurs librement choisies ainsi qu’observer l’exceptionnel dans le quotidien ou la trivialité dans les situations extrêmes. En outre, l’institution de l’album-photos familial qui, grâce aux moyens techniques, fait partie de notre vie depuis plusieurs générations, offre aux photographes un terreau fertile pour leurs expérimentations et leurs créations picturales. Ce point de départ représente une source d’inspiration particulièrement intéressante, d’autant plus significative qu’elle permet en fin de compte au photographe lui-même de lever le voile et de donner accès à sa sphère privée et à son histoire personnelle.
Les œuvres qui évoquent dans différents langages les thèmes les plus variés véhiculent à la fois des symboles universels etdes histoires subjectives que le visiteur peut interpréter à des niveaux toujours renouvelés, en fonction de sa propre expérience. Ces récits et ces instantanés, ces confessions volées et ces mensonges mis en scène posent en eux-mêmes beaucoup de questions qui, en définitive, nous interrogent sur la responsabilité et la nature humaine en général dont le cocon familial est le laboratoire idéal.
Krisztina Erdei: Let's Sleep On It
When you need to make a tough decision, generally you say: let’s sleep on it. Krisztina Erdei’s already familiar universe will now hit the walls via a rather unusual medium, because Christmas is coming. Some of these photos might seem provocative at first glance, some even insulting for certain people, while others obviously trigger affection or sympathy in the viewer. Asking for patience or delayed reaction, as implied by the title, makes us pensive on one hand, but on the other it also makes us passive. However, there are some cases where dillydallying is not the best strategy. Sleep, for instance, is an activitity which for humans is not easy to carry out while standing.
Vernissage: 11.26.2013., 18.30
Address: Csináltam neked egy éttermet, és ez sem elég, Madách Imre út 8., Budapest, Hungary, 1075
PLAT(T)FORM 2014
Emerging artists and photographers presented their portfolios
Saturday, 25 January 2014, 11 a.m. – 7 p.m.
Sunday, 26 January 2014, 11 a.m. – 5 p.m.
Friday, 24 January 2014, 7.30 p.m. – 9 p.m.
The invited experts will each give a 20 minutes presentation on their work in the field of photography and their passion for the medium. The curators who were invited by the Swiss Arts Council Pro Helvetia will also be introduced to the public.
Saturday, 25 January 2014, 8 p.m. – midnight
Dinner party
The eighth curated international portfolio viewing featuring young emerging European photographers will be held on the weekend of 24 to 26 January 2014. Under the new direction of Duncan Forbes and Thomas Seelig, Fotomuseum Winterthur has invited 42 photographers to present their work for two hours to the public and a selected team of experts. The participants have been chosen from among some 150 nominated photographers. Plat(t)form 2014 is aimed at professionals such as curators, gallery owners, publishers, editors and photographers. At the same time the event offers interested visitors an opportunity of discovering the work of young photographers and artists and of meeting them in person.
Photographers and Artists Plat(t)form 2014:
Milou Abel (NL), Duarte Amaral Netto (PT), Mathieu Asselin (FR), Phillip Aumann (DE), Morten Barker (DK), Máté Bartha (HU), Sara Bjarland (FI), Justine Blau (LU), Sarah Carlier (BE), Yves Drillet (FR), Cédric Eisenring (CH), Robert Ellis (IE), Krisztina Erdei (HU), Michael Etzensperger (CH), Anna Fabricius (HU), Julie Georgen (LU), Andreas Enrico Grunert (DE), Adrien Guillet (CH), Annabel Hesselink (NL), Viivi Huuska (FI), Sophie Jung (LU), Charlie Koolhaas (NL), Joëlle Flandrina Lehmann (CH), Osservatorio Fotografico (Silvia Loddo & Cesare Fabbri/IT), Tom Lovelace (UK), Sara-Lena Maierhofer (DE), Theo Michael (GR), Benjamin Mouly (FR), Sabine Niggemann (DE), Hannah Perry (UK), Max Pinckers (BE), Stef Renard (BE), Sevim Sancaktar (TR), Theo Simpson (UK), Carlos Spottorno (HU), Sebastian Stadler (CH), Andrzej Steinbach (DE), Sutercaputo (Linda Suter & Paola Caputo/CH), Anna-Stina Treumund (EE), Christoph Westermeier (DE), Stuart Whipps (UK), Xiaoxiao Xu (CN/NL)
CODES OF REALITY
Mesiac Photografie 2013, Bratislava
Béla Dóka · Krisztina Erdei · Zsolt Fekete · Gábor Arion Kudász
Curator: Gabriella Csizek
The grouping of works by the four artists Béla Dóka· Krisztina Erdei· Zsolt Fekete· Gábor Arion Kudász may seem unusual at first. However, if we immerse ourselves in the worlds enclosed in these images, we discover the connections amongst them through their simplicity and ability to condense meanings. We see personal documents about the reality they experience as filtered through the triad of their emotions, thoughts, and souls — the joyful life of Béla Dóka and his loved ones in nature; Krisztina Erdei’s real world revealing the impossible; Zsolt Fekete’s perspicacious portraits and landscape photos from a neat world; Gábor Arion Kudász’s images of the eerie traces of human presence in the barely existing untouched nature.