{"id":1250,"date":"2011-06-21T04:21:22","date_gmt":"2011-06-21T04:21:22","guid":{"rendered":"http:\/\/judit.landthaller.hu\/?page_id=1250"},"modified":"2022-12-01T08:49:47","modified_gmt":"2022-12-01T08:49:47","slug":"harmonia-5","status":"publish","type":"page","link":"https:\/\/landthaller.hu\/?page_id=1250","title":{"rendered":"Harm\u00f3nia \/ Harmony"},"content":{"rendered":"

Besz\u00e9lget\u00e9s Landthaller Judit fotogr\u00e1fussal<\/span><\/p>\n

Landthaller Judit sz\u00e1m\u00e1ra a harm\u00f3nia a t\u00e9nyek elfogad\u00e1s\u00e1ra illetve alak\u00edt\u00e1s\u00e1ra tett k\u00eds\u00e9rlet egys\u00e9ge – ezt igyekszik megval\u00f3s\u00edtani k\u00e9peiben is. A fotogr\u00e1fus Geometria-Homometria c\u00edmmel k\u00e9sz\u00fcl els\u0151 \u00f6n\u00e1ll\u00f3 ki\u00e1ll\u00edt\u00e1s\u00e1ra (R\u00e9vf\u00fcl\u00f6p, T\u00f3parti Gal\u00e9ria, 2010 j\u00fanius).<\/p>\n

<\/p>\n

\"\"<\/a>SZIL\u00c1GYI-NAGY ILDIK\u00d3: Legut\u00f3bb Pozsonyban, a Mesterek \u00e9s tan\u00edtv\u00e1nyok c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s sorozatban l\u00e1thattuk a munk\u00e1idat, Vancs\u00f3 Zolt\u00e1n p\u00e1rjak\u00e9nt. Moln\u00e1r S\u00e1ndor fest\u0151m\u0171v\u00e9sz mondta egyszer, hogy egy fest\u0151nek hasznos, ha engedi mag\u00e1n \u00e9rv\u00e9nyes\u00fclni m\u00e1s m\u0171v\u00e9szek hat\u00e1s\u00e1t. Te hogy vagy ezzel? Fontosak sz\u00e1modra a – t\u00e9nyleges \u00e9s szellemi – mesterek?<\/p>\n

LANDTHALLER JUDIT: \u00a0Igen, mindenk\u00e9ppen. Az eg\u00e9sz \u00e9let\u00fcnk tanul\u00e1si folyamat, amiben bizony j\u00f3, ha az embernek van kit\u0151l tanulnia. Nagyon j\u00f3, ha vannak\u00a0a h\u00e9tk\u00f6znapokra is\u00a0mesterek, akik seg\u00edtik, terelik az embert.\u00a0Ezt a Szellemk\u00e9p Szabadiskola biztos\u00edtja. Am\u00edg a di\u00e1kja voltam, nem is tudtam ezt annyira, mint most, t\u00e1volabbr\u00f3l. Sz\u00edvesen soroln\u00e1m, kinek, mit k\u00f6sz\u00f6nhetek, de ez meghaladn\u00e1 ennek az interj\u00fanak a kereteit. Maradjunk ink\u00e1bb annyiban, hogy j\u00f3, hogy van egy ilyen iskola, j\u00f3 ez a k\u00f6z\u00f6ss\u00e9g, j\u00f3 ide tartozni.<\/p>\n

SZNI: Fot\u00f3id kompoz\u00edci\u00f3j\u00e1ban sz\u00edvesen haszn\u00e1lod a vil\u00e1gos foltokat vagy alakzatokat, melyek ak\u00e1r\u00a0 r\u00e9szlettelen\u00fcl feh\u00e9rek. A k\u00e9peket, a tekintetet els\u0151re vonz\u00f3 vil\u00e1gos vonalak, foltok tagolj\u00e1k, a szem\u00fcnk csak ut\u00e1na keresi az apr\u00f3l\u00e9kosabb l\u00e1tv\u00e1nyt. Szereted elrejteni a k\u00e9pek \u00fczenet\u00e9t egy eszt\u00e9tikai var\u00e1zsdobozba?<\/p>\n

LJ:\u00a0 Ha lenne is ilyen var\u00e1zsdoboz, nem tudatos. Nincs sz\u00e1nd\u00e9kos \u00fczenet elrejt\u00e9s. Sz\u00e1momra\u00a0\u00a0nagyon j\u00f3 \u00e9rz\u00e9s, ha egy-egy k\u00e9p a befogad\u00f3ban gondolatokat \u00e9breszt, ett\u0151l m\u00e9g “gazdagodhat” is a k\u00e9p. Sok k\u00e9pnek nem is adok c\u00edmet, hadd hasson kiben-kiben a saj\u00e1t sz\u0171r\u0151j\u00e9n kereszt\u00fcl, szabadon. J\u00f3, ha van egy bizonyos dial\u00f3gus a fot\u00f3 \u00e9s annak szeml\u00e9l\u0151je k\u00f6z\u00f6tt.<\/p>\n

SZNI: F\u00e9nyk\u00e9pr\u0151l besz\u00e9l\u00fcnk, ez\u00e9rt els\u0151re tal\u00e1n trivi\u00e1lisnak hat a meg\u00e1llap\u00edt\u00e1som: felt\u0171n\u0151 a f\u00e9ny jelenl\u00e9te a k\u00e9peiden -illetve emiatt a hi\u00e1nya is azon kev\u00e9s fot\u00f3n, amelyen ez tetten \u00e9rhet\u0151. \u00dagy \u00e9rzem, nem csak az \u00e1rny\u00e9kok, t\u00fckr\u00f6z\u0151d\u00e9sek felhaszn\u00e1l\u00e1s\u00e1hoz van sz\u00fcks\u00e9ged a tagolt vil\u00e1g\u00edt\u00e1sra. Milyen szerepet sz\u00e1nsz a f\u00e9ny jelenl\u00e9t\u00e9nek\/hi\u00e1ny\u00e1nak a k\u00e9peiden?<\/p>\n

LJ:\u00a0 A f\u00e9ny megker\u00fclhetetlen. Mindennek a l\u00e9nyege. Ugyanakkor a hi\u00e1ny\u00e1nak is van jelent\u00e9se, \u00e9s nem felt\u00e9tlen\u00fcl negat\u00edv jelent\u00e9s. \u00c1ltal\u00e1ban szeretem az ellent\u00e9teket megragadni, m\u00e9gpedig \u00fagy, hogy egy ellent\u00e9t-p\u00e1rban a k\u00e9t r\u00e9sz lehet\u0151leg azonos s\u00faly\u00fa, \u00e9rt\u00e9k\u0171 legyen. Egys\u00e9gben szeretn\u00e9m megragadni \u00e9s \u00e9szrev\u00e9tetni a kett\u0151ss\u00e9get. Tal\u00e1n ez minden k\u00fcls\u0151 \u00e9s bels\u0151, m\u0171v\u00e9szi \u00e9s “h\u00e9tk\u00f6znapi” harm\u00f3nia alapja.<\/p>\n

SZNI: A geometrikus l\u00e1t\u00e1sm\u00f3d ir\u00e1nti vonz\u00f3d\u00e1sod a pillanat szeretet\u00e9vel p\u00e1rosul, nincsenek megrendezett fot\u00f3id? K\u00f6vetkezetesen tudod, hol kell \u00e9ppen lenned a megfelel\u0151 pillanatban, vagy az \u00e9let hoz el\u00e9d egy-egy \u00faj t\u00e9m\u00e1t, amit azt\u00e1n id\u0151vel kibontasz?<\/p>\n

LJ:\u00a0 Valahogy ez pont \u00edgy m\u0171k\u00f6dik, ahogy \u00edrtad. Van be\u00e1ll\u00edtott, el\u0151re megtervezett, kompon\u00e1lt k\u00e9pem. Van, ahol \u00e9pp egy megfelel\u0151 pillanatban a megfelel\u0151 helyen vagyok, \u00e9s van t\u00e9ma, ami ott van, egyszer\u0171en csak r\u00e1tal\u00e1ltam: sz\u00e1momra nagyon adja mag\u00e1t. Azut\u00e1n amikor mint k\u00e9pet a kezembe veszem, \u00f6nmagam sz\u00e1m\u00e1ra is megfejtem, illetve hagyom, hogy el\u0151ttem is, sz\u00e1momra is kibontsa mag\u00e1t – mint b\u00e1rki m\u00e1s n\u00e9z\u0151 el\u0151tt.<\/p>\n

SZNI: Anal\u00f3g, fekete-feh\u00e9r kisfilmes g\u00e9ppel dolgozol, Geometria-Homometria c\u00edm\u0171 sorozatodon pedig szemet nyugtat\u00f3 kompoz\u00edci\u00f3s rendet tartasz. Van benned egy bels\u0151 ig\u00e9ny az \u00e1ttekinthet\u0151s\u00e9gre?<\/p>\n

LJ:\u00a0 Igen. Azt gondolom, minden emberben van ig\u00e9ny \u00e9s v\u00e1gy egy bels\u0151 rendre, letisztults\u00e1gra, egyszer\u0171s\u00e9gre. Ez a k\u00e9peimen szembet\u0171n\u0151bb, de nem jelenti azt, hogy ez az \u00e9letben is ugyan\u00edgy m\u0171k\u00f6dik. Dolgoznom kell \u00e9rte: magamban is el kell fogadnom a kett\u0151ss\u00e9geket, az ellent\u00e9teket, amir\u0151l az el\u0151bb besz\u00e9ltem.<\/p>\n

SZNI: Az egyik k\u00e9pen kerekes sz\u00e9kes l\u00e1ny szerepel, ez a fot\u00f3 kil\u00f3g a munk\u00e1id k\u00f6z\u00fcl abb\u00f3l a szempontb\u00f3l, hogy a geometria s\u00edkban, falrajz jelenik meg. Hogyan k\u00e9sz\u00fclt?<\/p>\n

\"\"<\/a>LJ:\u00a0 Nem \u00e9zem, hogy annyira kil\u00f3gna, hacsak nem ink\u00e1bb az\u00e9rt, hogy ha az ember megl\u00e1t egy kerekes sz\u00e9kest, sajn\u00e1latot \u00e9rez. Nem ez volt a c\u00e9lom. Egy\u00e9bk\u00e9nt az unokah\u00fagom van a k\u00e9pen. Volt egy nagyon komoly m\u0171t\u00e9tje, \u00e9s egy j\u00f3 darabig nem \u00e1llhatott l\u00e1bra. Egy nap lement\u00fcnk a Millen\u00e1risba “labd\u00e1zni”. \u00c9s a k\u00e9p ott k\u00e9sz\u00fclt. Egy\u00e9bk\u00e9nt tipikus p\u00e9ld\u00e1ja a Geometria-Homometria l\u00e1t\u00e1snak: A kerekes sz\u00e9kbe k\u00e9nyszer\u00fclt ember sz\u00e1m\u00e1ra valamik\u00e9ppen darabokra – geometrikus elemekre – t\u00f6rik sz\u00e9t az addig megszokott vil\u00e1g: ezt a nagyv\u00e1ros zs\u00fafolt \u00f6sszevisszas\u00e1ga k\u00e9pes visszat\u00fckr\u00f6zni a maga szigor\u00fa geomterikus form\u00e1ival.<\/p>\n

SZNI: A “Seg\u00edteni j\u00f3” c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1son egy\u00fctt szerepeltek a fotogr\u00e1fi\u00e1id Stift Zolt\u00e1n Angelico rajzaival. K\u00e9peid megfogalmaz\u00e1sakor lelki seg\u00edt\u0151 sz\u00e1nd\u00e9k is van benned? K\u00e9peidet milyen mor\u00e1lis k\u00fcldet\u00e9studat jellemzi?<\/p>\n

LJ:\u00a0 Ez is alakul \u00e9s forr az emberben, \u00fagy gondolom, mindannyiunkban. Nem hinn\u00e9m, hogy ebben nagyon m\u00e1s lenn\u00e9k, mint k\u00f6r\u00fcl\u00f6ttem ak\u00e1rki. Persze mindig j\u00f3 lenne valahogy seg\u00edteni, valamit jobb\u00e1, nemesebb\u00e9 tenni. De fontos, hogy az ember ezt a munk\u00e1t saj\u00e1t mag\u00e1n kezdje, \u00e9s akkor az valamit t\u00fckr\u00f6zhet, k\u00f6z\u00f6lhet. Akkor lehet egy kis ereje kifele is. Az a “Seg\u00edteni j\u00f3” c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s gyermekek sz\u00e1m\u00e1ra k\u00e9sz\u00fclt, els\u0151seg\u00e9lyny\u00fajt\u00e1s oktat\u00e1shoz, annak megk\u00f6nny\u00edt\u00e9s\u00e9re k\u00e9sz\u00edtette a grafikusm\u0171v\u00e9sz. Az \u00e9n fot\u00f3im nem a t\u00e9ma kapcs\u00e1n ker\u00fcltek a ki\u00e1ll\u00edt\u00e1sra, hanem ink\u00e1bb a st\u00edlus hasonl\u00f3s\u00e1ga miatt: Stift Z. Angelico grafik\u00e1i egyszer\u0171s\u00e9g\u00fckkel \u00e1llnak k\u00f6zel az \u00e9n k\u00e9peimhez, nagyon gazdag sz\u00ednvil\u00e1gukkal viszont sz\u00e9p ellent\u00e9tet \u00e1ll\u00edtanak a fekete-feh\u00e9r fot\u00f3k m\u00f6g\u00e9.<\/p>\n

SZNI: \u00a0Mit jelent sz\u00e1modra a m\u0171v\u00e9szi, \u00e9s mit a h\u00e9tk\u00f6znapi harm\u00f3nia? \u00d6sszekapcsol\u00f3dik a kett\u0151?<\/p>\n

LJ:\u00a0 Igen, minden bizonnyal \u00f6sszekapcsol\u00f3dik. P\u00e9ld\u00e1ul abban, hogy mindkett\u0151ben – mint az el\u0151bb is mondtam – jelen van a kett\u0151ss\u00e9g. Ha siker\u00fcl a harm\u00f3ni\u00e1t megval\u00f3s\u00edtani, az azt jelenti, hogy siker\u00fcl a kett\u0151ss\u00e9get egys\u00e9gbe – mindk\u00e9t ellent\u00e9tes r\u00e9szt \u00f6nmaga f\u00f6l\u00e9 emel\u0151 egys\u00e9gbe fogni. Mikor ez nem siker\u00fcl, akkor harc van, vita van, diszharm\u00f3nia van: a h\u00e9tk\u00f6znapokban \u00e9s a m\u0171v\u00e9szetben egyar\u00e1nt. Ami persze nem felt\u00e9tlen\u00fcl negat\u00edv, mert ha tanul\u00e9konys\u00e1g, nyitotts\u00e1g van a diszharm\u00f3ni\u00e1ban, akkor \u00faj ismeretek, \u00faj l\u00e1t\u00e1sm\u00f3d, \u00faj magatart\u00e1s sz\u00fclethet bel\u0151le. Merevs\u00e9g eset\u00e9ben persze ez nincs. V\u00e9g\u00fcl mi a h\u00e9tk\u00f6znapok harm\u00f3ni\u00e1ja – az eddig mondottakon t\u00fal? Azt mondan\u00e1m, hogy sz\u00e1momra – mert azt az\u00e9rt nem hagyhatjuk ki, hogy mindenkinek joga van a maga saj\u00e1tos “h\u00e9tk\u00f6znapi harm\u00f3ni\u00e1j\u00e1t” kialak\u00edtani, vallani -, sz\u00f3val sz\u00e1momra a h\u00e9tk\u00f6znapok harm\u00f3ni\u00e1ja a t\u00e9nyek elfogad\u00e1sa, illetve az alak\u00edt\u00e1sukra tett k\u00eds\u00e9rlet egys\u00e9ge. Ez \u00e9rv\u00e9nyes a nap legapr\u00f3bb tennival\u00f3j\u00e1t\u00f3l a m\u0171v\u00e9szi feladatokig. Tapasztalom, hogy legink\u00e1bb a mezei, sz\u00fcrke\u00a0h\u00e9tk\u00f6znapok alak\u00edtj\u00e1k az embert, a legapr\u00f3bb kis tev\u00e9kenys\u00e9get is bele\u00e9rtve: takar\u00edt\u00e1s, mosogat\u00e1s, mindennapi\u00a0visszat\u00e9r? feladatok, m\u00e1r-m\u00e1r\u00a0gy\u00f6trelmes ism\u00e9tl\u0151d\u00e9se. Ezeket meg\u00e9lni, kitart\u00f3an csin\u00e1lni ak\u00e1r szeretem, ak\u00e1r nem, ak\u00e1r akarom, ak\u00e1r nem. Ezzel tud az ember egy kicsit \u00f6nmaga f\u00f6l\u00e9 l\u00e9pni: a saj\u00e1t korl\u00e1tai k\u00f6z\u00fcl bizonyos harm\u00f3ni\u00e1ba. \u00c9s mi a m\u0171v\u00e9szi harm\u00f3nia – megint csak\u00a0sz\u00e1momra? Pl. az, ami egy ki\u00e1ll\u00edt\u00e1son a k\u00e9peket egym\u00e1s mell\u00e9 rendezi, megszabja, hogy ezt a fot\u00f3t ide \u00e9s nem oda, e k\u00e9p mell\u00e9, \u00e9s nem egy m\u00e1sik mell\u00e9 tegyem a falra. \u00c9s persze sok m\u00e1s. Ami nem f\u00e9r bele egy ilyen interj\u00faba.<\/p>\n

SZNI: \u00a0Sz\u00e1modra az alkot\u00e1s a h\u00e9tk\u00f6znapok r\u00e9sze, vagy ink\u00e1bb kiv\u00e9teles, \u00fcnnep\u00e9lyes alkalomnak \u00e9led meg?<\/p>\n

LJ: \u00a0Ez is v\u00e1ltoz\u00f3. Van, hogy m\u00e1r nagyon v\u00e1rom \u00e9s k\u00e9sztet\u00e9st \u00e9rzek, hogy menjek \u00e9s k\u00e9sz\u00edtsek k\u00e9peket, teh\u00e1t\u00a0\u00f6r\u00f6mmel indulok. Van, hogy f\u00e1radtabb, kedvetlenebb vagyok, de az\u00e9rt elindulok. \u00c9s t\u00f6bbnyire van,\u00a0hogy ilyen \u00e1llapotomban sz\u00fcletnek j\u00f3 k\u00e9pek. Amiben – ha belegondolunk – semmi k\u00fcl\u00f6n\u00f6s nincsen, hiszen amint az igazi \u00fcnnepnek nem lehet akad\u00e1lya a term\u00e9szetes f\u00e1radts\u00e1g, s\u0151t arra val\u00f3, hogy megsz\u00fcntesse a f\u00e1radts\u00e1got, \u00fagy az alkot\u00e1st sem determin\u00e1lhatja tart\u00f3san a kedv hi\u00e1nya. Teh\u00e1t azt \u00e9szrevettem, hogy a j\u00f3 k\u00e9phez nem felt\u00e9tlen\u00fcl sz\u00fcks\u00e9ges az \u00e9rzelmi “t\u00falp\u00f6rg\u00e9s\/t\u00falcsordul\u00e1s”. \u00c9s f\u0151leg amikor m\u00e1r szembes\u00fcl\u00f6k a k\u00e9pekkel, akkor veszem ezt \u00e9szre.\u00a0Az \u00e9rzelmek – \u00fcnnep\u00e9lyesek \u00e9s kev\u00e9sb\u00e9 ilyenek – j\u00f6nnek-mennek. Nem tudok bel\u00e9j\u00fck kapaszkodni, mert\u00a0 nem \u00e1lland\u00f3ak. De\u00a0az a fajta\u00a0k\u00edv\u00e1ncsis\u00e1g, izgalom, hogy mikor tal\u00e1lok meg valamit, vagy ford\u00edtva, mikor tal\u00e1l meg engem egy-egy t\u00e9ma, az mindig jelen van.\u00a0\u00c9s ennek m\u00e1r csak a tudata is harm\u00f3ni\u00e1t ad.<\/p>\n

 <\/p>\n

A besz\u00e9lget\u00e9st Szil\u00e1gyi-Nagy Ildik\u00f3 k\u00e9sz\u00edtette.<\/p>\n

Angol ford\u00edt\u00e1s: Cs\u00e1ji Bal\u00e1zs Csan\u00e1dn\u00e9<\/p>\n

 <\/p>\n

[box]\n

Interview with Judit Landthaller photographer<\/p>\n

“Harmony” means for Judit Landthaller the integration of both accepting the facts and trying to form them, she is determined to accomplish this through her pictures, as well. The photographer is preparing her first individual exhibition under the title Geometry – Homometry (R\u00e9vf\u00fcl\u00f6p, Lakeside Gallery, June 2010).<\/p>\n

\"\"<\/a>ILDIK\u00d3 SZIL\u00c1GYI-NAGY: Last time we saw your works in Pozsony, in the exhibition series entitled “Masters and Disciples” in cooperation with Zolt\u00e1n Vancs\u00f3. The painter S\u00e1ndor Moln\u00e1r said once that it was useful for a painter to let himself be affected by other artists. How is this in your case? Are masters, real and spiritual ones, important to you?<\/p>\n

JUDIT LANDTHALLER: Yes, of course. Our whole life is a learning process and it is indeed good to have people around you who you can learn from. And it is really good to have some masters for everyday life who help you, who lead you. And that is what the “Szellemk\u00e9p”(Phantom View) Independent School of Art is offering. When I was a student there, I couldn’t realise it back then as much as I can now, watching it from a new perspective. I would like to list all the names to whom I am grateful, but it would go far beyond the frames of this conversation. Let’s say only that it is good that there is a school and a community like that, it is good to belong here.<\/p>\n

ISZN: In the composition of your photos you often use bright spots and shapes which are sometimes just white without any toning. The pictures are structured through bright lines and spots which attract the attention first, before we try to catch the details. Do you intent to hide the message of the pictures in an aesthetic magic box?<\/p>\n

JL: Even if there were a magic box like that, it wouldn’t be intentional to hide the message. It is a very good feeling for me that some of the pictures raise new ideas in the beholder, this may even enrich the picture. I leave untitled many of my photos, in order to let it affect each person, through his own filter, freely. It is good if a dialogue is coming off between the photo and the observer.<\/p>\n

ISZN: We are speaking about photos, “light pictures” as we put the Hungarian word for photo together. Hence, it might sound a bit trivial when I say that the presence or absence of light in your pictures is striking. I have the feeling you need this structured view not only for using shades and reflections. What kind of role do you intend to give the light, its presence or absence, on your pictures?<\/p>\n

JL: The light is inevitable. It is the essence of everything. But its absence bears a meaning, as well, and it is not always a negative one. Generally, I like to grab the contrasts where the two poles take a similar value and importance. I would like to grab and have the unity in the duality seen. That might be the foundation of every kind of harmony, inner, artistic and “everyday” harmony.<\/p>\n

ISZN: Your attraction to geometric view is coupled with the devotion to the moment. Do you make staged photos? Do you know consequently where do you have to be at the right moment, or is it life itself which comes up with new topics that you then develop?<\/p>\n

JL: It works as you said. I have some planned, adjusted, composed pictures. Sometimes I am at the right place at the right time and there are topics which are simply there, I just find them, they seem to be so natural to me. And then when I take the picture in my hand, I figure it out for myself and I let it develop itself to me just like to the other observers.<\/p>\n

ISZN: You work with an analogue camera\u00a0and you keep the composition clear in your series of Geometry-Homometry, which has an “eye-soothing” effect. Do you have an internal demand to keep everything perspicuous?<\/p>\n

JL: Yes. I think that everybody has the need and the wish for an internal order, clarity and simplicity. That is more obvious in my pictures, but it doesn’t mean that it would work in my real life the same way. I have to work for it: I have to accept the duality in myself, too, that is what I meant before.<\/p>\n

ISZN: On one of the pictures there is a girl sitting in a wheelchair. This photo is different from your other pictures because the geometry is showing up in a plane as a graffiti. How was it made?<\/p>\n

JL: I don’t think that it would be that different, perhaps it is because of the feelings we have for somebody in a wheelchair. It was not my aim to make people feel sorry for that person. Anyway, it’s my niece on the picture. She had a very serious operation and after that she was not allowed to walk for a long time. One day we went to the Millenarian Park (Budapest) to play ball and the picture was taken there. It is a typical example of the Geometric-Homometric view: for somebody sitting in a wheelchair the world is broken into pieces, the world once familiar is broken into geometrical elements. The crowded and chaotic metropolis can show this with its strict geometrical shapes.<\/p>\n

\"\"<\/a>ISZN: There was an exhibition entitled “It’s good to help”, where your photos were displayed together with Zolt\u00e1n Angelico Stift’s drawings. When you are creating your pictures, do you have a spiritual intention to help others? What kind of moral mission do you want to fulfil through your images?<\/p>\n

JL: That is a point where we, everyone of us, is going from strength to strength. I don’t think I would be that different from others around me with respect to that. Of course, it would be great to help, to make something better, nobler. But it is important that we should start this work on ourselves, only then we could give something away from it. Then, we can have some energy for others. The exhibition entitled “It’s good to help” was called to life to teach children how to give first aid. The graphic artist made it easier to speak about this topic with children. My photos were exhibited there not because of the similarity of our topics, but because of the similarity of our styles: the simplicity of Zolt\u00e1n Angelico Stift’s graphics establishes a connection between them; and their rich coloured appearance makes them a beautiful contrast to my black and white images.<\/p>\n

ISZN: What kind of meaning do artistic and everyday harmony have for you? Are they connected?<\/p>\n

JL: Yes, indeed they are connected. For example, in what I said before that they both have the duality in them. If you succeed to create a harmony of the two, it means that you can make the union of them, a union which is beyond both of them. If you are not successful in that, then it leads to controversy, fight and disharmony, in real life and art, too. Which is not always a bad thing, because if it is coupled with the ability to learn, when there is an open mind in the middle of the disharmony, then it can lead to new knowledges, views and behaviours. But if there is a rigidity, it can’t come up. And what is the harmony of every days, beyond all these? I would say that for me – because we have to lay down that everybody has the right to have a special way of creating his own harmony – harmony is the integration of both, of accepting the facts and trying to form them. This is valid for everything, from the smallest everyday duties to the artistic activities. I have experienced that everyday life, the grey weekdays are those which mostly form us, including the smallest duties, like cleaning, washing dishes, the almost painful monotony of these duties. To persist in doing these even if I don’t want to, even if I don’t like it. So can you come beyond yourself, beyond your bounds into a kind of a harmony. And what is the meaning of artistic harmony ? again the artistic harmony for myself? For example, it orders the photos in an exhibition, it tells me where a picture should be hung on the wall, exactly at that place, between this and that image. And there are lot of other things, but this interview is too short to list them all.<\/p>\n

ISZN: Is creation part of your everyday life or rather a rare and special solemn moment?<\/p>\n

JL: It is alternating, too. Sometimes I am really waiting for it and I have an inspiration to go and take photos, so then it is a pleasure for me. Other times I am more tired, moody, but I still take off. And I can take some good photos even at these less inspired moments. And there is nothing strange about it, when we think about it, it is just like with our celebrations. If we are tired, it cannot make a celebration not happen, it is after all to make the natural fatigue disappear. Thus, creation cannot be influenced by missing interest for too long. So I realized that you did not have to be in a very emotional condition to take good photos. And I realise this especially after facing the taken photos. Emotions – solemn and less solemn ones – are coming and going away, I cannot hold on to them, because they are not stable. But the excitement that I could catch a topic or a topic could catch me, that feeling is always there. And even the awareness of this provides me harmony.<\/p>\n

The interview was made by Ildik\u00f3 Szil\u00e1gyi-Nagy.<\/p>\n

[\/box]\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Besz\u00e9lget\u00e9s Landthaller Judit fotogr\u00e1fussal Landthaller Judit sz\u00e1m\u00e1ra a harm\u00f3nia a t\u00e9nyek elfogad\u00e1s\u00e1ra illetve alak\u00edt\u00e1s\u00e1ra tett k\u00eds\u00e9rlet egys\u00e9ge – ezt igyekszik megval\u00f3s\u00edtani k\u00e9peiben is. A fotogr\u00e1fus Geometria-Homometria c\u00edmmel k\u00e9sz\u00fcl els\u0151 \u00f6n\u00e1ll\u00f3 ki\u00e1ll\u00edt\u00e1s\u00e1ra (R\u00e9vf\u00fcl\u00f6p, T\u00f3parti Gal\u00e9ria, 2010 j\u00fanius).<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/1250"}],"collection":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/landthaller.hu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1250"}],"version-history":[{"count":51,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/1250\/revisions"}],"predecessor-version":[{"id":4493,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/1250\/revisions\/4493"}],"wp:attachment":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}