Palace of Exhibitions

SVB VOCE,” curated by Suzanne Mészöly, featured 16 installations by 18 Hungarian artists using video or related media. Yet I hesitate to refer to it as a show of video artists. The distinction is crucial to an understanding of what separates this particular exhibition from many of those of the last decade that (purposely or not) ghettoized the video artist. Would anyone organize an exhibition described as “18 Oil & Canvas Artists”? This exhibition does not entirely escape this trap; a number of installations seem to use video as an excuse. Yet the overall impression that one gets is that many of the Hungarian artists see the camera as a means of exploring relationships with other media, such as painting, sculpture, or performance.

Many of the works feature the use of a live camera. This creates a dichotomy between the time of the work, as it has been produced, and the time within which it

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