“1980s Generation / snapshot-society” is a project initiated in 2012, in Budapest Hungary, as a multidisciplinary workshop of sociologists and artists, which then led to an exhibition at the...
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@80generation
“1980s Generation / snapshot-society” is a project initiated in 2012, in Budapest Hungary, as a multidisciplinary workshop of sociologists and artists, which then led to an exhibition at the...
Katalin Illés: Broadcast Intermission (2012) 40 x 60 cm ilfochrome print, 1 videoloop Hungarian TV started out its regular broadcasts in the early1960s, with the TV programmes gradually developing into an everyday-life phenomenon in our grandparents’ homes. Nearly every living room has a TV set today. Supposedly, the brain is unable to record moving pictures – by it everything is captured and stored as a still picture. The video work inundates the viewers’ minds with a tremendous influx of mass media pictures on historic events between 1980 and 2000. Living amongst immense quantities of pictures, people today have a very high threshold of image sensitivity. We normally have less and less pictures that all of us will know. Back in the 1980s and the 1990s, just a mere fragment of today’s picture mass have reached the TV-viewers, and the visual flood was simply replaced by a MONOSCOPE proper. [For the State TV Broadcaster in Hungary, “Monoscope” was a stationary, monochromatic kaleidoscope-like quasi-Station Logo, which was generated as based on an obsolete technology from the 1950s, having the function to, exclusively, signal that the broadcasting is not yet on or is already over.] We, belonging among those of the 1980s Generation, are able to say, though, that we still have images that we commonly know. MONOSCOPE is such an iconic image we all do know. Broadcasting intermission occurs today as well – not just infrequently. We surf and search on the Internet, yet none of the images remains ours.
Emőke Kerekes: Nowhereland 2011-2012 Analogue technology, Archive inject print, dimensions variable It’s not easy to reach this land! Doing so takes strong desires and steady dreams. Not to mention those couple of abuses, and living in fear for years or decades, perhaps. When lacking in such utopistic connotations, our endeavour is not worth undertaking. For it’s right these that make “setting sail” grounded! Because arriving in Nowhereland you won’t have here-at-home/back-home or drop-in-at-you/come-round-us or you’re comin’/ coming anymore – there’s only being a stranger/being estranged that remains.
We would like to create a virtual international hub for the 80s generation. If you have a work (poem/photo/painting, whatever!) related to this topic, please share it with us. We are sure that sharing...
Zsuzsa Bakonyi: Grandpa (2012)
12 cm x 13.5 cm pictures, digital print
As a child, I saw my grandfather twice a year usually, so I did not get to know him very well. Nonetheless, when I was around 25, I started missing him a lot, and I had frequent dreams with him.
This was the final drop to drive me to research my family’s roots (on my mother’s side) which had been always filled with more holes than information. I grew up in the capital of Hungary, Budapest, in a cosmopolitan environment on the dawn of the internet age. And this was where I regularly had to listen to stories about the hard life in the miner’s village where my grandfather was sent to work and my mother and her sister grew up. However, the stories were never complete, only strange references to a very depressing past filled with paranoia and traumas.
I never understood how I am supposed to feel about this past, it was so much not part of my world, but subconsciously part of my being. I felt very rootless. The world has turned upside down in the course of less then 3 generations in the post-soviet block, and my family’s story depicts this perfectly.
The photographs were taken at Egercsehi miners’ colony, in the forest between Szarvaskő and Egercsehi, Hungary. I travelled there with my parents. My mother cried a lot saying that she had never told this before and I felt like I am serving as a kind of ventilation system for our family trauma.
http://cargocollective.com/bakonyizsuzsa
Márk Martinkó, CV (2012)
3-channel video loop Getting a steady job is a problem the 1980s Generation now widely has. They don’t have any tradition in how to enter the competition-based labour market. Their education was based on the patterns of the ”ancient regime” [the Communist rule] that were mostly founded on structures now considered out of date. A widely seen phenomenon is that members of the 80s Generation falsify their CVs by exaggerating and colouring them in an attempt to bridge the gap the requirements they have to face mean. With a focus on this particular feature, I prepared three young persons’ video CVs in order to afterwards find the falsifications in these. In the beginning, the subjects were just informed that the videos were to be made for an artistic project, and that they could later use these videos for their own purposes when applying for a job. I would in turn reveal the full truth only after the recordings had been made, and asked the subjects to mark the parts with exaggerations. The video CVs got, afterwards, re-recorded on VHS, and I subsequently manipulated them, that is, applied a magnet to make analogue noises to the sections which, as later admitted by the subjects, had made up or falsified things in them
István Virág, BUD-OSL, OSL-BUD (2012)
64 x 80 cm, c-print, alu-dibond The pair of images designated as BUD-OSL (2012) and OSL-BUD (2012) is about a topic concerning the 1980s Generation – migration and emigration. Those emigrating would leave their homeland for an indefinite period of time in many of the cases, and their return would be subject to what they would experience abroad, what chances would emerge in a foreign land. My installation focuses on that indecision as to time, on the infinite variety of possibilities as well as on the re-assessment of “here-at-home/back-home”.
Enikő Várai: ”La mission est sacrée”* (2012) *”The mission is sacred” - an Article of the Code of Honour of French Foreign Legion ”I want to be a soldier” – when will one choose this sentence to be his career motto? What is the difference between joining the military today and the former mandatory military service? In my photo sequence, I was seeking the factors, the individual life conditions and the inner drives that might motivate a young person to join the military as a profession. The subjects I portrayed here were born in the 1980s. Indeed, this theme is one concerning me closely as my little brother is military, presently on a mission overseas. No surprise that, following his decision, so many unanswered questions were raised in the family. We can only make guesses as to his motivations, without knowing whether getting closer to or falling away from the truth. In the interviews and photo sessions that I had with the subjects, I focused on what made them choose a military career.
Csaba Vágó – Katalin Vágó-Lévai: Playground Love (dedicated to B. Vágó) Becoming a parent, your own childhood memories, thought to have been long forgotten, emerge. This experience inspired the photo sequence entitled “Playground Love”. Playground is a most essential scene for the child’s socialization. Out of nursery or primary school, or during vacations, it is on the playground that the children, “released” from the blocks of houses where they live, develop their social skills and behavioural patterns, and vent their emotions. This is not unlike it was in the 1980s when we were children. Today those old playgrounds with their iron and wooden constructions wait deserted for their doomsday. The toy constructions that are now doty or sunk into the ground make you feel like you saw archaeological sites with finds. The intention was to make a photo documentation of these playgrounds before they fully vanish.
Réka Szent-Iványi: No. 48
At No. 48. Eötvös Street in the 12. district of Budapest, Hungary, there’s to be found a villa, an iconic building from the era of the Communist dictatorship, where the contemporary secret service [ÁVH] detained suspects, including former Communist prominent László Rajk, of an infamous conceptual trial, the “Rajk trial”. The decayed house is now in the possession of the local government, with tenants living in the ground floor and first floor apartments. The building’s several rooms and compartments have new functions today.
Kata Somogyvári: TINYVISION (noun) the phenomenon in which our experiences that we lived through or that we conceived to be during the time we used to be tiny, break into small pieces, and then, by multiplying their own tiny details, they integrate into whole visions. [Latin:] (tinyexperience)provision
Ildikó Péter: Landscapes As a visual legacy of the so-called “regime change” [the cessation of the Communist rule] in Hungary in 1990, abandoned buildings, sites left fallow, assets forsaken comprise a memento – most typically seen in the country-side yet sometimes being a very characteristic part of the urban scene in the capital city as well. In my work, it was more and more inspiring to see these open, empty, forgotten landscapes that would tell a story of our past. We are the last generation from before the “regime change”, in the aftermath still nurturing the old times’ visual experiences. My work is a documentation of those areas, lands and sites that used to be utilised but are now doomed to decay – such as a closed up beer factory, an old row of garages, a tramway stop, the abandoned public spa, a construction site left fallow, a muddy road leading into nowhere, the embankment of a closed and removed railway track….
Gergely Barcza: Borderline case (2012) 40/1974. (XI. 1.) Ministers’ Council Regulation on protecting the borders of the Hungarian People’s Republic (Issued in: Magyar Közlöny 1974/80 (XI. 1.) annulled: 01-11-1997) – The goal and organisation of Ministry of Interior’s Border Guard 1. § (1) The Border Guard’s goal is to protect the state borders, to prevent them from being illegally crossed, to control border traffic, and to maintain order at the frontier. (2) The Border Guard shall perform its functions in co-operation with the Hungarian People’s Army, with the armed law enforcement organisations and with other state organisations and organisations in society, as well as by involving the support of the resident citizens who live at the frontier. *Regulation (EC) No 562/2006 of the European Parliament and of the Council of 15 March 2006 establishing a Community Code on the rules governing the movement of persons across borders (Schengen Borders Code) - (Official Journal L 105 , 13/04/2006 P. 0001 – 0032) TITLE III / INTERNAL BORDERS/ CHAPTER I - Abolition of border control at internal borders Article 20- Internal borders may be crossed at any point without a border check on persons, irrespective of their nationality, being carried out.
About the project
“1980s Generation / snapshot-society” is a project initiated in 2012, in Budapest Hungary, as a multidisciplinary workshop of sociologists and artists, which then led to an exhibition at the PhotoMonth Budapest 2012 and to this website The focus is the diverse social phenomena and social problems that concern the 20 to 30 year-olds of today in CEE. This online platform was created to host artists’ works from different countries to reflect on the specific issues of this peculiar generation born in socialist times but grown up in democracies (i.e. in the 1980s).
In May 2012, in order to organize exhibitions to mark the occasion of PhotoMonth, Studio of Young Photographers Hungary initiated two workshops – one of them was entitled “1980s Generation”. A publication issued by Kontra Workshop in 2010 is considered the inspiration for the workshop “1980s Generation”: a group of young sociologists, psychologists, visual anthropologists published their studies on social phenomena and social problems that concern 20 to 30 year-olds – that is, they released self-reflexive interpretations on their own generation. Mostly these studies provided the theme for the members of Studio of Young Photographers workshopping with their individual projects. The purpose of both the workshop and the exhibition was to inspire reflection on self and to provide a wide panorama on how the members of this generation see themselves – whether or not we consider ourselves different from those born earlier and those later; whether or not the mindset of our generation was influenced by the fact that we lived a part of our childhood in the Communist rule only to see, still as children, the regime change and a democracy starting? A common experience of our generation is that while we have a system of values as well as models of family and work that were based on social patterns created during the Communist regime, these patterns won’t work when we’d apply them to life to start a career. They are out of date now. It is the social issues of the 1980s Generations in the present time, on the one hand, that are raised by the self-reflective yet far-reaching art pieces displayed at the exhibition. On the other hand, the exhibition guides us back in the past, since some projects deal with events, scenes and social phenomena that are related to Hungary before the “regime change”, taking us back to memories and experiences of our childhood. The exhibition displays the creations of members of Studio of Young Photographers produced during nearly half a year’s workshopping. Artists: Zsuzsa Bakonyi, Gergely Barcza, Zsuzsi Flohr, Emőke Kerekes, Katalin Illés, Márk Martinkó, Ildikó Péter, Kata Somogyvári, Réka Szent-Iványi, Katalin Vágó-Lévai – Csaba Vágó, Enikő Várai, István Virág. Curator: Edit Barta, Assistant Curator: Anna Balázs
Online platform: Zsuzsa Bakonyi
Contact:
bakonyizsuzsa (at) gmail dot com
edit.barta (at) gmail (dot) com
Brochure about the 2012 photomonth exhibition (only in Hungarian)
http://issuu.com/ffskiadvany/docs/80asgeneracio?e=3523551/3525909
Katalin Illés: Broadcast Intermission (2012)
See description here:
http://80generation.tumblr.com/post/119952220653/katalin-illes-broadcast-intermission-2012-40-x
Find your own generation!
Zsuzsi Flohr: '80, '81, '82, '83 - Find your own generation! (2012) DV tape (8 min 20 sec) The last few months of preparing this work have meant time-travelling. In both directions, between past and present. At the beginning of this work I had no connection with those of my own generation, so I began a search for them. High school mates, friends, those I knew as a child. The recordings are of meetings with friends, spontaneous conversations without any instructions or concrete (theme-related) questions being raised.