KIncső Bede’s solo exhibition at TOBE Gallery in Budapest.


Kincső Bede - Three Colours I Know in This World
April 14 - May 15, 2021
TOBE Gallery, Budapest

BLACK-WHITE MAGIC

While rituals disappeared from the life of modern people, they still re-emerge in the most unexpected places… the images of Kincső Bede are taken up by the airtight and dusty Securitate Gothic style. Exactly like the incubus grimacing on a young lady’s chest in the Swiss Romantic painter Henry Fuseli’s artwork entitled The Nightmare. Still, these recordings do not evoke the recent past of Central and Eastern Europe, nor our long-forgotten, sleep-paralysis-like senses of identity. Merely, we acknowledge this peculiarity of the atmosphere because weather we speak Romanian, Polish, Czech, German or Hungarian (etc.) in this region, we all recognise the well-known, almost identical feeling. Instead of nightmare-causing eccentricity, the images produced by Kincső represent the (socialist) ghosts of the Carpathian Basin with a Hrabal-like laxity. In time we could be anywhere between 1945 and 1989 - globalisation has been avoiding our lands ever since. The contemporary nature of the monochrome images is only demonstrated through the disengaging poses, which reveal the spectacular effects of fashion photography. We can’t even talk about costumes, as the inherited clothing fits the represented characters perfectly. Apart from Kincső and her models, everything indicates - in an unmistakeable way - that in the last decades not much sunlight could shine through the densely woven iron curtain. We find ourselves in a neglected, dark and humid house of a thriller. The past haunts us. However, the characters with a halo effect convey senses of fresh energies, the talisman placed on the tip of the tongue indicates the concept of Mana, light is reflected in the wrecks of a two Millenia Dacia and the endless tombstones’ row of seats. In fact, rituals re-emerge in unexpected places! The pictures are photo rituals - therapeutic, healing ceremonies and necromancies. They seek the ecstatic experience, they try to recall something from the abandoned traditions, they aim to dramatize the past, but also, they intend to break taboos, which have ossified over the previous decades. The burdensome dismissing and suppression of the recent past overstep the physical or intellectual causal connections. In these cases, we find ourselves in the need of new ceremonies.

Endre Cserna, visual artist and art critic
Translated by Eszter Novák

Bede Kincső was born in 1995 in Covasna, Romania. She is currently a master's student of photography at the Moholy-Nagy University of Art and Design and previously studied film editing at the Babeș-Bolyai University in Cluj-Napoca. She is a member of the Studio of Young Photographers (FFS). In 2020, she won a photography scholarship from the Association of Hungarian Photographers, and in the same year, she was one of the four selected artists at the Carte Blanche award announced by the world's most prestigious photography fair, the Paris Photo. A large-scale exhibition of the finalists’ works was organized at Gare du Nord in Paris. Her images, which deal with the processing of transgenerational traumas were also selected by the curators of BredaPhoto for the 10 New Talent 2020 talent program, so her series of images were also exhibited in the Netherlands. Kincső's work was also included in the publication Blurring the Lines 2020 curated by Steve Bisson, Lisanne van Happen, and John Fleetwood. Kincső Bede was selected by the Capa Center as one of the talents for the FUTURES 2021 - European Photographic Platform.