These self-published books were produced in part with support from the
National Cultural Fund, and are currently available at retail prices here:
The Írók Boltja (1061 Budapest, Andrássy út 45.)
and the Mai Manó Ház bookstore (1065 Budapest, Nagymező u. 20.).
For dedicated editions at cost prices can be acquired in person by
appointment at the workshop: 1084 Budapest Baross u. 86. Or ordered by email or telephone for postal delivery.
firstname.lastname@example.org, +36 30 22 18 352
Original vintage copies of the photographs in the books are also for sale.
Horváth M.Judit - Stalter György
MÁS VILÁG / OTHER WORLD
24x32cm, 144pp. hardback edition, a printing of 1500 139 B/W plates.
...Sometimes there is much to talk about Gypsies, but usually they are enveloped in silence.
Their existence is burden for everyone: for teachers, neighbors, for politicians. Whether we
want to"elevate, integrate or assimilate" or to liquidate,
segregate or regulate them, the discourse is always about them and not with them: We always
know just what the problem is with them: there are too many of them: they are different: they
are strange, they don't follow our moral codes, they are workshirkers, they are criminals -
shall we go on with the list? We don't know what they want, how they want to live. In Gypsy
classes, in huts on the outskirts of villages, in prison, on state benefits?
Or do they perheps have desires like we do? Or are they really so unalterably different? How
many times have we run along the same lap, and for how many centuries have they been
It is painful to realize how much we, the so called majority, are not present in these photos.
Everything there belongs to the Roma - the house, the pullover, the goat, all the absences.
Gypsyland. It is only seemingly a part of the segment of time and space called Hungary. It is
another country, another towns, another
Budapest: our Hungary is not like this. And yet our Hungary is like this. This Gypsyland is in
our Hungary, nevertheless, we visit it as foreigners. We watched and observe its inhabitants,
a schoked group of tourists, while they look trough us. They don't see us as we tiptoe through
their empty rooms, they don't hear our sighs, our hushed greetings.We can't leave there
our words - how could we, without credibility, validity or meaning? Gradually everything
emigrates from Gypsyland, and only the people remain.
They don't have anything to say us, but they did have something for the photographers:
flower, cooking-stove, portable stereo, wife, kids. Heavy, simple sentences. The gestures
in front of the camera contain neither accusations, nor desires. All they have is certainty,
wisdom and recognition. Peace. These people
are beyond their Gypsyness. It is merely an ID card. A brown stamp that keeps and detains
them in Gypsyland. But they are more than this: they are proud, happy, exhausted, sad, in
love. If only we knew just this much about them, the days of Gysyland would be counted.
Más Világ / Other World 1998
VÁROS A VÁROSBAN / TOWN IN THE CITY
24x32 cm, 168 pp. hardback edition, a printing of 1000 132 Color plates
...György Stalter's choice of subject has stayed focused predominantly in that environment
where over the years he has set up house, so to say: in the shaded inner courtyards, the
dilapidated streets of Józsefváros - still holding onto its antiquities, its traditional residents,
but mauled through large construction projects - among residents fated with transformation,
sometimes in mutual harmony, yet in this period, ever more on the verge of being driven out.
In these images, the people are balanced against the seemingly nostalgic, wryly special
material world, which at other times seems embedded with contradictory tensions of the
changes. The contradictions, the floating between past and present, that give Józsefváros a
kind of improbable atmosphere, and Stalter transfers this urban landscape, a self-effacing
one, retreating from reality - to a more abstract level in his pictures.
His use of color will be the most surprising: the blues pushed to the utmost with filters,
yellows, greens that alienate at first glance, till just the moment when they draw you into that
Call it technology, or say... expressive technique. That the majority of the pictures were shot
with artificial light, which carries the faces and figures portrayed, as well as objects and
locations, to merciless extremes, reflects the actuality of the situation that pre-occupies their
Alongside Stalter's photographs, his analog technique itself can be seen as a kind
of apotheosis, since however artificial or manipulated it may seem, it was in fact
exclusively "hand-made": shooting on low sensitivity, not to mention long-expired slide
film, then using that as his negative with a so-called "cross-processing" method... Stalter's
bold colors strike order in the outstanding chaos: they present, accentuate, question the
simple details, which are simultaneously enigmatic yet clearly Józsefváros. An old vacuum
cleaner on the cobblestones employed to clean a car. A youth in the throat of a stairwell with
a battered, advert umbrella. A dog lies in front of a child in a stroller, who gazes into the
distance from the red-blue lot of a demolished house - framed by whitewashed firewalls at the
edge of frame. Saint days and fair rides, dances and kisses, rubble and shade. It is a world
disintegrating, just as it is an inventory validated through subjectivity, a remembrance.
Creating Reality - Magyar Narancs 2010
CSALÓKA LÁTSZAT / SIMULACRUM
22.5x24cm, 128 pp, hardback book, a printing of 600 59 color plates
As a consequence of my origins, my spiritual constitution, and my sex, Reality and Fable
are closely connected in my mind; the thin line between them is easily trespassable. I easily
communicate between the two, and this dual state of being is the suspense that gives birth to
Magic, the capacity to alter reality, begins with collecting: my objects surround me, we live
together for years, and a singular, private relation develops between us. Then once, the day
comes when the picture living inside me jumps out to the world suddenly and uncontrollably.
In my pictures, the representations of the imaginary life of my characters are surrounded by
the desires and elements of my real life. By the exclusion of reality, and the representation
of an alternative world, I create the possibility of leaving and entering, the possibility of
identification with something else.
I create opportunity to gain knowledge about the unknown, gain insight to the world of
my creation, characteristic of me, hoping to provoke emotional associations, surprise and
recognition in my audience.
There are two different worlds: the world of the receiver and the world of the artwork. These
two worlds are in close connection with each other. The receiver has a set of preconceptions,
emotions and suspicions, which he or she would build into his or her interpretation of the
actual artwork unwillingly. A dialogue begins between the artwork and the receiver.
If there were no Tales, our fantasy, our imagination could not develop. Without tales, we are
closed into our own worlds, Tale is virtually a key to a deeper understanding.