Minyó Szert Károly

The old, rough brick wall has the sense of originality. It is a clean, pure material, the simple forms appear step-by-step. The exhibition space itself is the dark room. Humming and whispering, and a bike light flashes. Exposure  The Light Cyclist jumps down from the bike, hustling to the wall. Systematic but routine movements, he processes the light-sensitive plate with developer then fixative. A Light Magic Picture was produced, observed by the wondering spectators!                                                                                                                                                                                                                                                                                                

Look out for the famous performance tool. “My daughter and I are traveling by bike, there is no space for a third in the passage. Anyway, the ‘light cycle’ in an old, rundown piece. “ He has a special attraction to bike. “For me, the bike means the childhood in the sixties, a symbol of liberty.

I was sixteen when I got my Practica. I remember, the price was 2800 HUF, a full month good salary that time. All of my pocket money went to make photos.”

I graduated at the photographer’s school in Budapest, but I did not want to be neither photographer, nor cameraman. When the photographer takes the picture, the work is done, while my studio work starts at this point. Where photography and painting meet, I work in this thin line.

The technical knowledge, the teenager obsession of photography, the draughtmanshipness coming from home, and the artistic attitude receiving at the Bakonyi art school together produced a big bang. From 1989, new era started: the Minyo period. “This was the title of my first exhibition, and the name worked.”

Since then we talk about the photographic table images of Minyó. “Unique table images are produced by my unique photographic approach.”

The cover of the latest Minyó-box opens, and we review nostalgically the old photos: dancers shooted from an old black-and-white TV set, family tablewares, football scenes, the family dog, and family fates.

How could come here the series of summer holiday photos on the well-heeled girls (bequest of the Töttermann family), for example? And why is an old landscape interesting, where the amateur photographer positioned a battered electric pole just on the centre of the photo?

The presentation of the box is a surprise, but the poem is almost certain: “Do not give up anything, because who resigned something will dry up in it / But you must neither be the slave of desires, / Walking with restained passions just as hard / as being crumbled among liberated passions ” (Weöres S.: Taming the Desires)

6/4/2011 Budapest

Elérhetőség: www.minyo.hu