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REVIEWS
AND INTERVIEWS
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| Dear Horkay, at first I would like to thank you for letting me
ask you a few questions about your extraordianry and extrmley beautiful
work. Almoast three years passed since I’ve seen your work
for the first time. It was the end of April and I was returning
to Slovenia from Bucarest, Romania. Every time I pass though Budapest
I stop for a day and take a walk, listen to the nice voices and
unusual language on the underground metro, take a walk to the Miro
cafe, pass through the small galleries and antique shops. At that
moment I was 20 and I was doing very well in the fashion photography.
A glance look through the window of XXI. Gallery, made me stop
there for an hour and it changed my perspective on the work of
an painter and an artist today. |
| The path of evolution and creativity has been guiding You through
different parts of europe. As I understand You were 19 when You
left for Poland in order to attend the Academy of Fine Arts in
Crakow, later to Copenhagen, Denmark after that you returned to
Budapest. Do you feel that spirit of these places at the particular
time has inhabited in you? Do you breathe with the city that you
live in, its history and coulture? |
| This was a special are from a cultural point of view. Krakow-Poland
was the center of European culture in the 70s with a total view
of art of Paris, Berlin and Copenhagen. It was more than just the
atmosphere of the place since the cultural openness and pioneering
ambitions stepped beyond the economic backwardness and isolationism.
The travelers of the Polonia express train went to Poland in order
to get in touch with the land which might provide new impulses,
like Achilles. That is a different question that the Achilles’ heel
was the 1968 march into Czechslovakia. |
| In some of your work, especialy black and white digital coulages
is very present the moment of pree war Budapest photography, wich
is still known as one of the best classic schools of mastering
sunlight in sunlight stuidos. It is a bit more sophisticated and
a bit less strict as the good old Berlin school. Did you feel that
you have to expose this old wisdom of sun and shadow on the walls
of galery again? |
| The light and the shadow on the wall which Plato also talks about
has always been important to me. From this point of view, the gallery
wall is a challenge and an adventure since we fill it with pictures
and our own personality. In essence, the directed light, the dual
presence of light and shadow, the feelings in the shade and the
softness of the darkness attract and guide me. In Hungarian, old
photographs are called LIGHT-pictures. They are the prints of light
and shadow, of time, travel and eras. They are surrounded by the
attractive atmosphere of old times, like the atmosphere the good
old Berlin school. |
| Do you feel that you took pop art to post pop art or the history
came to you in order to actualize it? Are you the media between
the present and the past. Or the media between the present and
the future? |
| " We don't need virtual reality, we need virtual unreality." -
Peter Greenaway |
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Istvan
HORKAY |
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