The Sunny Side. Modern Hungarian Photography

Szabolcs Barakonyi, Judit Katalin Elek, Lilla Szász, Gábor Gerhes, Krisztina Erdei, Enikő Hangay, Gábor Arion Kudász

The pictures of the exhibition explore the possibilities that can make us smile. These possibilities range from distinct, almost hidden irony to the unusual, more absurd associations, through presenting the impossible or by using the expressions of a language. A smile can also arise from surprise or joy of recognition. The pictures show the beauty, confusion, absurdity, sometimes disturbing harshness or secret harmony of an “abnormal world”.

Szabolcs Barakonyi builds up the beauty of country-life realism from seemingly tiny details, spiced with irony. With its harsh colours and compositions he turns the not-always-joyful daily life in a place “where no one else was brought” fabulous.

Katalin Judit Elek’s reality-frames follow the line of our memories’ pictures, sometimes adding to them a different understanding. By walking in her time-diary we can peep in her life’s surprising and familiar moments, and get a picture of our lives as well.

On Krisztina Erdei’s pictures the seemingly incoherent details together form a firm opinion about our close environment and us. She shares her life experiences with the viewers sometimes with cynical, often humorous but always with a very characteristic, sensible and thoughtful approach.

Gábor Gerhes presents our thinking-linguistic structures with a strict simplicity. In his pictures he presents the meanings of statements and expressions with a particular humour, which makes us think and - at the same time - shocks us.

Enikő Hangay shows the eternal presence of the nature through the interrelations between shapes and colours of the picturesque details of our everyday life.

The portraits of Lilla Szász lead us to a close world with its own system of rules. The strength of the environment, absurdity of the deatils of the pictures forms a decoration to the presentation of the faces and human nature.

Gábor Arion Kudász always follows the methods of classic picture-making, either taking a portrait of happy events or showing the absurdity of real situations.