Gabor Szilasi is on a constant quest to capture the ordinary people and places of the present day. He finds beauty in the banal and is interested in documenting a society that is in constant flux. Gabor Szilasi: The Eloquence of the Everyday is co-organized by the Canadian Museum of Contemporary Photography
(CMCP) and the Musée dart de Joliette. Presented by Pratt & Whitney Canada, this exhibition of 124 photographs taken by the artist over the past 50 years is on view until January 17, 2010 in the CMCP galleries of the National Gallery of Canada (NGC).
Gabor Szilasis photography has held a prominent place at the CMCP since its early days of collecting prints in the 1960s, said CMCP director Martha Hanna. Szilasi as a person was and continues to be a catalyst for photographic activity in the province of Quebec, particularly in Montreal. It is with great enthusiasm that we present this exhibition, which will be traveling to the McCord Museum, the Kelowna Art Gallery and the Musée des beaux-arts de Sherbrooke as part of the National Gallery of Canadas On Tour program.
Pratt & Whitney Canada is proud to present Gabor Szilasis exceptional body of work representing the past 50 years, said John Wyzykowski, Vice President, Mississauga & Turbofan Programs, Pratt & Whitney Canada. Were proud to promote excellence in the arts, and we support programs that enhance the cultural life of our communities all while expressing P&WC's own values of creativity, innovation, sustainability and advanced technologies.
Gabor Szilasi: An iconic Canadian photographer
Born in Hungary in 1928 and largely self-taught, Gabor Szilasi started his photographic practice in his home city of Budapest. At the age of 29, Szilasi immigrated to Canada as a refugee, fleeing Hungary and the Communist regime. Settling in Montreal, where he has lived ever since, Szilasi was employed as an official photographer by the present Office du Film du Québec to document a variety of subjects, from cows at country fairs, to road and building constructions, to special events such as the arrivals of Queen Elizabeth and Charles de Gaulle at Expo 67.
Szilasi carried two cameras as constant companions on these numerous photography excursions: one for his official assignments and one for capturing the images of personal importance to him. This self-discipline and dedication to his art would continue through his many years as a professor of photography at both the Cégep du Vieux-Montréal and Concordia University. Now 81, Gabor Szilasi continues to actively produce and exhibit new work.
Gabor Szilasi: The Eloquence of the Everyday
Organized by guest curator David Harris, Gabor Szilasi: The Eloquence of the Everyday combines portraits, domestic and commercial interiors, cityscapes, and images of rural life. It also includes environmental portraiture, a genre of photography in which the settinga persons home, workplace, or even a public placeplays an essential role in describing the subject. The exhibition is organized into three geographically-based themes: Hungary, Rural Quebec and Montreal.
Gabor Szilasis early photographic experiments began in Budapest. His subjects included friends and family, and picturesque views of the city and its street vendors. Photographs such as Motorcyclists at Lake Balaton (1954) reveal the artists inspired and spontaneous response to the circumstances of the moment, coupled with a growing confidence and assuredness in his photographic eye.
Szilasi returned for several visits to Budapest in the 80s and 90s with what he describes as mixed feelings of curiosity and nostalgia. Motivated by the desire to connect a personal past with the present, he succeeded in documenting the streets, buildings, parks, and the people he knew before he immigrated to Canada.
What began as a modest study of a single community evolved into an extensive social and cultural documentation of rural Quebec in the 70s. Szilasis work from this time represents one of his most important contributions to Canadian photography. A highlight includes what is perhaps Szilasis best known image, that of Mme Alexis (Marie) Tremblay in her bedroom, Ile aux Coudres, Charlevoix (Sept-Oct 1970). In it, he uses the armoire mirror and the framed photo of Mme Tremblay as a young woman to create an image of spatial intricacy and psychological complexity.
In the 70s, Szilasi also photographed St. Catherine Street, in the heart of Montreals commercial district, using a large-format 4 × 5 camera to respond to the diverse commercial, religious, and institutional buildings along its path. In the 80s, he used a panoramic camera to document the character and qualities of a variety of urban spaces found throughout the city. Later, in marked contrast to his more austere black-and-white work, Szilasi photographed the electric and neon commercial signage on buildings, and used color to enhance his focus.
A collection of personal portraits Szilasi took during the course of his daily life in Montreal can be read in biographical terms, revealing the artists interests, friendships, and professional relationships. These include family members, such as his wife Doreen and his daughter Andrea, close friends and neighbors, and fellow photographers and artists, such as Sam Tata and Guido Molinari.