Formalities by Krisztina Erdei (August 24, 2009) 
(1 votes, average: 4.00 out of 5)
Loading ...
Categories / Documentary Conceptual / / Click here to open comments section, click again when done to close / Comments Off
curator statement - Roman Babjak on Krisztina Erdei
I admire Krisztina for her very original view and her ability to devote herself to the image completely. I have always admired people, who have decided to live within their own world, without it being an escape from reality and documenting their own visions through photography, the medium seemingly invented for approving reality. Often the escape from reality ends up on the border line between art and kitsch. Only a few authors are able to portray their own visual world with stubbornness and ease at the same time, Krisztina is one of them. Roman Babjak is the curator and editor of photo.sittcom.sk, a web based project aimed at discovering and presenting young artists from Central and Eastern Europe working with video & photography.
Next / Documentary Photography As A Starting Point / Previous / talent selected by abbas (magnum photos), day 4 /
Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
Photos of the series “Formalities” start out from the point where rational thinking ends.
Krisztina Erdei’s major realization is that the world's beauty lies in the fact that it exists: existence is beautiful in its entire absurdity and imperfection.
Her photos are natural in a way that they do not wish to explain the secret of existence, nor to define it from the outside, but rather to experience it fully, and create interpretations in light of this experience.
The femininely artistic identity in Erdei’s work takes the form of what can be called a “layer”, and starts dominating the photos as soon as the exposure is made.
At this point the referentiality of space and time loses its significance; the place where you arrive looking at her photos contains the totality of the world, so you can just allow yourself to be touched by the locations, objects, and beings – referring to things other than themselves.
At the same time, through your particularity and imperfection, you are also included this world of visuality. (Jokesz Antal)
Krisztina Erdei's work consists of very strong photos: troubling and exciting, like the collections of a fashion guru.
We could say they present a new generation's visuals and their directives for reality, with a consoling vision that the culture of today, though it is clearly heading somewhere, remains full of unexpected relations, contingencies.
The reality copied through Krisztina Erdei's camera is actual, not potential, and it forms a complex, heavily conditioned world employing both model realities and own experience. (Készman József)
Krisztina Erdei (1976) lives and works in Budapest, Hungary.
Click weblink www.fotografus.hu/hu/fotografusok/erdei-krisztina or browse our archives
Out now! 50pm new issue
Sports Issue Magazine App
Posted in category 648
