Eastern European Collectors
Knoll Galria Budapest


HU  EN  DE  


In Budapest’s Galleries, Female Artists Make Their Mark by Joseph Nechvatal on September 23, 201, Hyperallergic:


Photo-stream: https://www.facebook.com/galleryweekendbudapest/photos/pb.638256349556318.-2207520000.1472471035./900871966628087/?type=3&theater


Supported by


András J. Nagy: Without Title, 2015, b/w photo, Ed.1/5, 25x25 cm

11. September - 7. November 2015.

Opening: 11. September 2015, 7.p.m.

Speech by Károly Kincses.

András J. Nagy started taking pictures of graffiti using his father’s Leica M4 at the young age of eight. Born in Hungary, he grew up in the South Bronx and South Brooklyn and subsequently lived in various cities on several continents.

The black-and-white photographs Nagy, who is still active, created as he roamed the planet not only document the diverse environments in which he found himself; more importantly, they tease out the subtle compositions those places. In his photographs meet elements of architecture, consumption, poverty, daily life, nature, decay or human existence. In such transitional places as streets, shops, car parks, construction sites, public transport, passage undergrounds or stopovers one can find those contradictions which characterize Nagys photographs and turn them into a pointed snap-shot of the society we are living in. Those places imply a dialectic meaning: For the ones neutral passages, which they automatically pass by in their daily life, for others like homeless people called „home“ or „living room“.

Since his beginnings in photography, András J. Nagy focused on the marginal groups of society - from subcultures to homeless people or drug addicts. Mostly unnoted or even despised, they organize their lives in the shadowy gaps of society. Starting 2010, Nagy captures scenes of the lives of those unwanted homeless residents of the streets of Budapest or other European cities. By using a peephole perspective and with a hidden, self made camera, he puts the beholder in the position of a clandestine observer, encroaching unauthorized on the fragile private sphere of the subject. Their existence is inevitably public, but András J. Nagy’s series conveys dense impressions of touching intimacy.

The exhibition shows photographs of the last years. The setting of the exhibition follows a certain narration which is based on the first eleven chapters of Lászlo Krasznahorkais story "From the North a Mountain, From the South a Lake, From the West the Roads, From the East a River“.