zur Gegenseitigkeit des Blicks

Self Fashion Show / Öndivatbemutató 

Tibor Hajas

SFS-Hajas-350   self-fashion-img-06   self-fashion-img-07

1976, 35mm B/W, 15´

In spite of his early death, the action and performance artist and poet Tibor Hajas (1946–1980) counts among the most important Hungarian artists of the second half of the twentieth century. His performances, which took place without an audience and were only documented by a photographer, strove for a holistic experience between life and death in which he — like the Vienna Actionists — explored his own physical and mental limits.

Hajas’s short 35 mm film Öndivatbemutató (Self fashion show), produced at Balázs Béla Filmstúdió in 1976, suggests documentary methods before questioning them. On a busy square, passersby are stopped and asked to look into the camera for one minute in a pose of their own choosing, to present themselves as “models of their own fates.” The vulnerability and manipulability of the persons approached become apparent and are highlighted by the soundtrack added later. Image and sound form a montage: the “protagonists” appear as a “collection of beetles, an anthropological manual” (Hajas) and are instructed by three speakers in how best to present themselves.



Zufällige Passanten bittet er, eine Minute in frei gewählter Pose in die Kamera zu blicken, sich als „Mannequins ihrer eigenen Schicksale“ darzustellen. Später wird der Film mit Ton unterlegt: Die „Protagonisten“ werden scheinbar von drei Sprechern instruiert, sich am besten darzustellen. Nach einer Weile beginnen die Kommentatoren Unzufriedenheit über die Selbstpräsentation der Aufgenommenen zu artikulieren. Der Ton verstummt, und die „Aufzählung“ der beliebigen Menschenbilder erscheint vor einem unbewegten schwarzen Hintergrund. In einem zweiten Dialogteil weisen die Filmenden ihre Machtposition zurück. Der Film deutet damit dokumentarische Strategien der Bedeutungsbildung an, die er gleichzeitig hinterfragt. Das Objektivitätsbedürfnis des Dokumentarfilmes offenbart seine Fähigkeit zur Manipulation.



Tibor Hajas

* 1946 Budapest, Ungarn
† 1980, Szeged, Ungarn


Exhibitions (selection)

2005 Tibor Hajas (1946-1980): “Emergency Landing”, LUMÚ, Ludwig Múzeum- Museum of Contemporary Arts, Budapest, H

1997 “Tibor Hajas Memorial Exhbition, Ernst Museum, Budapest, H

1990 “Nightmare Works: Tibor Hajas”, Anderson Gallery, School of the Arts, Virginia Commonwealth University, Richmond VA, USA

1987 “Tibor Hajas 1946-1980. Memorial Exhibition, Szent istván Király Múzeum [King St. Stephen Museum], Székesfehérvér, H

1981 “Erweiterte Fotografie”: 5. Wiener Internationale Biennale, Secession, Wien, A

1979 “Works and Words”, Stichting de Appel, Amsterdam, NL

1975 Spring Salon, group exhibition, Young Artists Club, Budapest, H

1973 Action reading and happening, Chapel Exhibitions, Balatonboglár, H


William Greaves

United States, 1968
75 minutes, Color, 1.33:1, English

Produced, directed, and edited by William Greaves
Coproducer: Manuel Melamed
Cinematography: Terry Filgate and Stevan Larner
Music: Miles Davis
Alice    Patricia Ree Gilbert
Freddie    Don Fellows
With    Jonathan Gordon
Bob Rosen
William Greaves

In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2½, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.



From Wikipedia, the free encyclopedia:

Symbiopsychotaxiplasm is a 1968 experimental docu-drama film written, directed, and conceived by African-American film director and documentarian William Greaves. The film, which is shot and presented in the style of a cinéma vérité documentary, attempts to capture and examine pure reality unhindered by the presence of the cameras all around. It is perhaps most memorable for the layers of metatextualstorytelling inherent in the concept of the story: that of a documentary inside a documentary inside a documentary.


Greaves originally conceived of the concept for the film by applying the Heisenberg Uncertainty Principle to a project Greaves had come up with several years earlier, in which he would follow and document a group of actors undergoing the audition process for an acting job. Finding himself dissatisfied with "Hollywood acting", which he found stiff and forced rather than loose and spontaneous as life tended to be, Greaves attempted to find new and different ways to bring out "reality" as it really was, one in which would not "act to the camera"


This complexity is enhanced by Greaves's editing techniques, including split screens displaying two or even all three perspectives at once, but in simultaneous split screens, to further the use of simultaneous footage about the same sequence but from three different perspectives. Through all of this, Greaves creates a circular meta-documentary about a documentary, a documentary about a documentary, and a documentary documenting a documentary about a documentary. All of this is Greaves's attempt to capture reality on film, using cameras in the right places at inopportune moments to discourage any short improvisations or unnaturalities that might take place.


Marina Faust


marina-faust-gallerande  marina-faust-gallerande-rouge  marina-faust-gallerande-vert

DVD PAL, 23 minutes, 2006

A spacious bourgeois house becomes the scene of a strange ceremony, a filming and locating operation, a mechanical ballet. "Gallerande" is this setting, suddenly seized by a small group of cameramen chasing something: an image, an event, or perhaps a narrative without an object… Just because the object of one’s desire is missing doesn’t mean any object will do. For these men, these women or this child, as long as an image is alive, as long as it is looking at us, something in or around it is functioning which echoes the image’s original enunciation. A little device repeating the Lacanian phrase: “You want to have a look? Well, look at that!”

Here the image is probed by the power which allowed it to be, which wanted it to be. The image is this thing which some people enjoyed making and others enjoyed seeing. And the pleasure itself remains: “the image is the eye’s tomb.” To watch a Marina Faust film is to face something that’s been seen before, seen by others before — and what’s already been seen has already been caught. Within this history-steeped décor, one must establish the memory of other film houses (Duras’s houses, Pasolini’s), the narrative of class and of the difference between the sexes, the gap between the grain and the sound of the picture; one must establish the present of bodies, a kind of eroticism which discreetly emphasizes the most neutral parts. One must note all the “moving” aspects of rigged bodies, bodies tied to objects and furniture, in order to show that each and every element needs to be taken seriously, like the fact that such an image is possible here and nowhere else.

"Gallerande" is a French novel title for a realist Italian film, infused with a certain taste for the trivial. I use realist in the strictest sense. Marina Faust tells us about covering a space, about the everyday experience of a band of technicians, artists, extras, professionals (it doesn’t matter), caught between the troubling desire to wield one’s power and the pleasure that comes from shedding it. And so she tells us about spectacle, about a reality-haunted theatre which allows distance, which conceives of time as an immeasurable treasure, which is neither life nor its opposite, which is just like life, which binds itself down to life, not transfiguring but continuing it. Continuing also a certain history of modernity, where movies were always more or less documentaries about the state of the material to be filmed.