The Robert Capa Contemporary Photography Center in Budapest is hosting a group exhibition celebrating photographic practices in Eastern Europe. Organized in collaboration with the Adam Mickiewicz Institute as part of the Polish Presidency of the Council of the European Union, this project brings together twelve photographic artists and collectives to explore the many facets of Eastern European identity. Interview with Wiktoria Michałkiewicz, curator of the exhibition.
Noémie de Bellaigue : Why is it particularly important to promote Eastern European photography today?
Wiktoria Michałkiewicz : Central and Eastern Europe have an incredibly rich history and a deep tradition of reflecting on political and cultural matters. The historical references, shared experiences of the region, and craftsmanship—long a trademark of artists from this area—are becoming even more apparent and compelling today, as we witness a flourishing of creativity. A new generation of artists is emerging—bold and original—while others draw inspiration from the region’s collective past, using their backgrounds in innovative ways.
There is also growing diversity within these societies, driven by political turmoil—most notably the Russian invasion of Ukraine—which has led to the forced migration of Ukrainians to Poland and neighboring countries. A significant side effect of this migration is their contribution to the cultural scene, bringing new experiences and perspectives. Cities like Warsaw, Prague, Budapest, and Bucharest are increasingly becoming cultural hotspots for Western Europeans, with new galleries and art initiatives thriving—photography included. Central and Eastern Europe has become a new “it” destination for the art world.
How is the exhibition structured into six chapters?
Divided into six chapters, this exhibition is a visual essay reflecting on the Eastern European perspective on European identity through the lens of artists from or based in Poland and Hungary. It approaches this theme from a place of cultural renewal and solidarity rather than viewing Eastern Europe as the “Other” or as dependent on images produced in the West.
The first chapter, “Transition,” explores meta-narratives and the collective memory archive that defines the region’s shared identity—understood as a mutual experience rather than an academic concept. This is expressed through the works of two collectives, Sputnik Photos and Pictural Collective.
The following chapters, “Space” and “Identity,” focus on the material and symbolic representations of political narratives of control, power, and emancipation. These themes are explored through space and architectural constructs in the works of Katerina Kouzmitscheva and Julia Standovar, as well as through body politics in the performative projects of Ilona Szwarc and Anita Horvath.
The “Spirituality” chapter examines artistic responses to emblematic social phenomena such as religion and politics, as seen in works by Agnieszka Sejud, HOAX, Zsuzsi Simon, and And yet we still keep on living. Meanwhile, “Grotesque”deals with ideology and resistance, expressed through the distinctively Eastern European use of absurdity and irony—exemplified by Ada Zielińska’s Pyromaniac’s Manual and Szabolcs Barakonyi’s Fine, thanks.
Finally, “Post-Nostalgia” showcases creativity rooted in a sense of limitlessness, characterized by bold experimentation with artifacts from new realities. This chapter explores object culture and design from the 1980s and 1990s, when the region transitioned “from one -ism to another”—from socialism to capitalism. Works such as Echo in Delirium by Eva Szombat examine this shift, while Wojtas’ Made in Poland employs a vivid palette to challenge national stereotypes.
What do you consider the highlights of the exhibition?
It’s difficult for me to pinpoint the highlights of the exhibition as its curator, but what I found particularly fascinating was discovering Hungarian artists I wasn’t previously familiar with and creating a dialogue between them and the incredible Polish artists.
What has been the impact of the exhibition so far?
The European Kinship – Eastern European Perspective is actually much more than an exhibition, even though the exhibition is at the heart of the project. We’ve received very positive feedback about the exhibition itself, but part of the project also includes a special issue of the British Journal of Photography, featuring the exhibited artists, as well as special contributions from remarkable curators, Catherine Troiano from the Victoria and Albert Museum, and Karolina Ziębińska-Lewandowska, Director of the Museum of Warsaw.
At the end of March, there will also be a conference and the Budapest Portfolio Reviews, which aim to give participants the opportunity to consult with renowned foreign experts about their images and receive professional feedback on their work. Polish and Hungarian artists exhibiting at the European Kinship exhibition will also take part in the event. The invited consultants are recognized representatives of the international photography profession: gallerists, art historians, heads and staff of prestigious institutions, agencies, festivals, and organizations.
In addition to personal consultations, the artists will give 5-minute-long public presentations of their series so that all professionals can become acquainted with the work of all the photographers. The presentations will also be open to the general public and will include a brief introduction by each of the professionals as well. During private consultations, an artist can meet one-on-one with six experts. There will also be the opening of a satellite exhibition, The Book of Long Objects, by Ukrainian artist Lia Dostlieva. This exhibition is a collection of images and fairytale-like short stories, where each narrative is tied to a specific ‘long object.’ The work traces three generations of one Ukrainian family through wars and episodes of forced displacement—from Soviet rule to Nazi occupation, then to independent Ukraine, and finally the current Russo-Ukrainian war.
Both events are organized in collaboration with the Capa Center, the Adam Mickiewicz Institute, REZO Agency, the British Journal of Photography magazine, and the Polish Institute in Budapest. The overall impact of the project is already visible in the expanded conversation about Central and Eastern European photography and the increased visibility of the artists, which we hope will be the first step in bringing these artists to the attention of the international art community for good.
Noémie de Bellaigue
European Kinship is on show at the Robert Capa Contemporary Photography Center, in Budapest, until April 20th 2025.
Robert Capa Contemporary Photography Center
Nagymezõ utca 8.,
1065 Budapest
Hungary
https://capacenter.hu
