Sculptures by Hungarian artist Zsófia Keresztes, Malgorzata Mirga-Tas’s Polish Pavilion transformation, and more highlights from this year’s show.
Uprooted and soulless, the stone and metal statues at Memento Park have long outlived the world that gave birth to them.
In Hungary’s Oscar submission Preparations to be Together for an Unknown Period of Time, a woman is thrown into turmoil when the man she loves apparently doesn’t recognize her.
Hungarofuturism, an Eastern European movement directly inspired by Afrofuturism, collapses perceptions of national and individual identity, monuments, and historical sites.
The documentary Three Dances and the stage musical Hungarian Nights approach modern Central European culture from vastly different standpoints.
Free to access and run with a high level of transparency and public input, Fortepan has collected over 100,000 photos taken by Hungarians during the 20th century.
As a reaction to the bleak uniformity of suburban housing in post-war Hungary, many homeowners painted their houses in vibrant designs.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
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PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.