{"id":16580,"date":"2021-04-02T00:01:06","date_gmt":"2021-04-01T23:01:06","guid":{"rendered":"https:\/\/punkt.hu\/?p=16580"},"modified":"2021-04-08T14:43:30","modified_gmt":"2021-04-08T12:43:30","slug":"the-representation-of-permanence-and-change-in-gabor-szilasis-images","status":"publish","type":"post","link":"https:\/\/punkt.hu\/en\/2021\/04\/02\/the-representation-of-permanence-and-change-in-gabor-szilasis-images\/","title":{"rendered":"The representation of permanence and change in G\u00e1bor Szilasi\u2019s images"},"content":{"rendered":"
\n<\/div><\/div>
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The possibilities of representing permanence and change have been the most salient interest of G\u00e1bort Szilasi for a very long time, whether he has photographed buildings or the streets and residents of Montr\u00e9al. Systematically photographing Saint-Catherine Street twice, first in 1979, and then again twelve years later, was an enterprise with this kind of logic. The same question was addressed in the colour series he prepared for the Montr\u00e9al Museum of Fine Arts\u2019 1990 Monet exhibition, for which he took photos of the painter\u2019s garden in Giverny, with such details well-known from the paintings as the Japanese bridge.<\/p>\n

Szilasi took his first photos in Hungary, and these early shots already show essential characteristics of his mature work. He studies people\u2019s relationship to each other and their environment, with humanism and a fine sense of humour. His pictures have a painterly quality that is only surpassed by their documentary value. His assumption of a distinctively outsider position further enhances the objectivity of his images.<\/p>\n

His series from the 1970s, which look at non-metropolitan Qu\u00e9bec (Charlevoix, Beauce, Lotbiniere, Abitibi, Lac St-Jean), seek out and document, often with anthropological precision, the milieus of individuals. The same principle inspired his work in Greve, a small Italian village he visited in 1986.<\/p>\n

In the 1970s he created a new form for the visual representation of his fascination with the individual and their surroundings, combining in a single image the black-and-white portrait and the colour photo of the room where the portrait was made. Throughout his career, he also made portraits of the figures of the art world, chiefly in Canada, but also in the US and Europe.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Carhenge, Nebraska, U.S.A., 1993<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Classy, Montr\u00e9al, 1977<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Andrea, Portrait\/Int\u00e9rieur series, 1979<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Andor P\u00e1sztor, Montr\u00e9al, Portrait\/Int\u00e9rieur series, 1969<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Brazil, Montr\u00e9al, 2015<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Gilford-Drolet street corner, Montr\u00e9al, 1980<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Adrien Ouellette with his wife, Saint-Joseph-de Beauce, Qu\u00e9bec, 1973<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

\n\n\t\n\t
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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Cheryl Fleming, Montr\u00e9al Portrait\/Int\u00e9rieur series, 1979<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: R\u00e9jane & Ga\u00e9tan Garon, Saint-Joseph-de-Beauce, Qu\u00e9bec, 1973<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Rue Saint-Catherine, Montr\u00e9al, 1979<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Les enfants du Pyr\u00e9e, greek club, Montr\u00e9al, 1961<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

\n\n\t\n\t
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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: l'A\u00e9roport de Dorval, Montr\u00e9al, 1959<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

\n\n\t\n\t
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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Notre-Dame - Saint-Maurice street corner, Montr\u00e9al, 1980<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

\n\n\t\n\t
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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Gilford - De-Grand-Pr\u00e9 street corner, Montr\u00e9al, 1980<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

\n\n\t\n\t
\n\n\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\"Photo:\t\t\t<\/a>\n\n\t\t<\/div>\n\n\t\t\t\t\t
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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

Photo: G\u00e1bor Szilasi: Louis-Pierre-Bougie, Portrait\/Int\u00e9rieur series, 1979<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>

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Notes<\/div>\n\t\t\t
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From the press material of G\u00e1bor Szilasi\u2019s 2003 exhibition at Mai Man\u00f3 House<\/a>.<\/i><\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

His series from the 1970s, which look at non-metropolitan Qu\u00e9bec (Charlevoix, Beauce, Lotbiniere, Abitibi, Lac St-Jean), seek out and document, often with anthropological precision, the milieus of individuals.<\/p>\n","protected":false},"author":6,"featured_media":16131,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"spay_email":""},"categories":[10],"tags":[732,702],"acf":[],"yoast_head":"\nThe representation of permanence and change in G\u00e1bor Szilasi\u2019s images - PUNKT<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/punkt.hu\/en\/2021\/04\/02\/the-representation-of-permanence-and-change-in-gabor-szilasis-images\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The representation of permanence and change in G\u00e1bor Szilasi\u2019s images - 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