You don’t have to go far, just walk along Kossuth Lajos Street or beyond, on Rákóczi Street, from Erzsébet Bridge to meet these stunning aesthetics of our ecological culture on shop gates and shop windows, which in András Szalai’s new folder The Snassz and Neoliki collections. The album he wrote and photographed, Kis magyar snassz és neociki, is a study of bridging gaps in environmental cultural manifestations of recent years, street signs and advertisements affecting the tournaments, which, in addition to raising questions about its aesthetics. Quality, according to the writer, the self-forgetting of goulash communism may have given us the tradition that, in his opinion, there are not as many dazzling spells in neighboring countries as in Hungary.
“Neociki of this quality may not exist anywhere else in the world, perhaps for this reason Nothing was left of the forgotten Communist spirit of Goulash or the happiest barracks, So that there is always a degree of freedom that you can enjoy at home, ”said Andras Szalay when asked about his newly submitted book.
It is often said that creative people can do miracles from the relatively scarce stock of Hungarian raw materials, and the ingenuity resulting from the shortage gave birth to the art of environmental culture at the time of regime change, a general manifestation capable of beyond the aftertaste. András Szalai searches for this phenomenon with great concern, and does not go further without deciphering the message facing the street, which often lacks all aesthetic standards or is difficult to decipher. There are a large number of them in the house, and the genre is constantly evolving, so Szalai has had a lot of material for a decades-old big-format album, which the Kieselbach Gallery is now adopting.
The introduction to the album was written by publisher Tamás Kieselbach, which testifies, among other things, of his commitment to kitsch art. “I’ve always loved sad, poorly rated paintings, and I’m also passionate about the colossal art, the naive art of Sunday pictures. I saw the painting in a wide field and sharpened my eyes at full size,” says the gallery’s owner, publisher. As he writes, he now knows that nothing tells us more about the decades of socialism, “our shattered and confused identity, more than these architectural details and seemingly insignificant and insignificant objects of use.” It was from him that his book Design Center was completed about a decade and a half ago.
Collected with Fabry at the time as a related spirit, for thirty years, Fabry dealt with subtle phenomena, object culture, Szalai with macro, broader environment, phenomena associated with architecture, and street scene.
Sandor Fabry recalls in the introduction: “We brought together the beauty of our uneducated figure. (…) When I saw his first performance, I said he was better than me. Today, perhaps, I will formulate it more professionally, more refined, more prepared, not less humorous. (…) I traveled today along Ülli út from Kálvin tér to Pestszentlőrinc. A mandatory study trip alongside András Szalai’s defense and indictment “- continues Fabry in the foreground, who also took journalists on a minibus trip to comment on the folly we go through every day With the writer, without paying special attention. He will dedicate it to him.
The writer claims that he did not collect it systematically, he simply depicted what was going on in front of him. In a wider period, from the 1970s to the present day, we find cool appearances in it.
This quality of snasn, which reflects a charming and depressing state of being, seems to be in decline because deprivation is not typical, poverty still exists, but everything can be achieved. On the other hand, neociki are actually malignant mutations, and uneven and conspicuous extravagance still exists. ” He said the origin of the salt.
And why aren’t downtown photos shown, but typically taken in suburbs and rural areas? “I was nice, I didn’t take on the big game, because that was enough for the book.”