Der Greif X MPB: Behind the Image with Kincső Bede

Der Greif in partnership with MPB presents Kincső Bede, recipient of the Guest Room Scholarship

Der Greif introduces the Michael Famighetti’s Guest Room Scholarship awardee Kincső Bede. She is a Romanian visual artist based between Budapest and Covasna and currently represented by TOBE Gallery, with which she is participating in Paris Photo Fair these days. She was selected for Guest Room “Super Sight” with her image “Self Portrait” from the series “The Art of Pista”. An image opening up to her familial story and collective East European history, bridging the personal to the collective.

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Der Greif: Can you tell us the story behind your work selected for Guest Room?

My series “The Art of Pista” (2015-2023) is a very personal project that I actually photographed from childhood until my grandfather died in 2021, and even the grieving process for a while. I thought for a long time that I was documenting, and it was only later that I was able to articulate to myself that the photo camera was actually a shield for me. It protected me from being part of the story, from identifying with it, and from being part of what was around me. Pista was my grandfather, who always disrupted everything around him. Photographing women, my female family members (including myself) who surrounded Pista throughout his life, is my attempt to transform his destructive energy into a creative outlet. These photo rituals are about healing.

Der Greif: Can you expand on the themes that specifically your photographic work explores?

My work is always based on double feelings. I like to work with familiar feelings as well as the unknown. One of my main themes is identity issues because my whole childhood and present life are surrounded by the fact that I grew up in a minority as a Hungarian from Romania. What is interesting is that I’m personally grateful for this and consider it a gift to have grown up in two cultures. I speak two languages as my mother tongue, and I always say so whenever I can - because unfortunately, few people in my country openly say so. Over time, I have come to realize that it is much more complex than how I feel. I have developed a sense of vocation as an artist to tell something for the people, to show something of what it means to be Transylvanian, and what the beauty and pain of this is. I started to build my ars poetica on this. I honestly believe that I am an individual person and that it is important what my innermost self feels and thinks. Everything else is socialization and trauma, but at the same time, I also think it is silly to pretend that these things don't exist because we carry the pain of these things inside us. By this, I mean everyone’s culture and history. Somewhere from this motivation comes my desire to deal with the past. I think it's important to educate ourselves, to notice the change and to keep up with it, because I think it also leads to peace and acceptance. For me, photography is the perfect medium to portray collective pain and is also perfect for me to create my own memory.

Der Greif: What is the biggest challenge you have faced in photography?

For me, photography became exciting when I understood that the complexity of the medium lies in its simplicity. A good photograph should be simple and accurate. I think photography is easy, but making a good photograph is very difficult... it depends on the photographer’s gaze and sense.

Der Greif: Who are some photographers that inspire your work?

Roger Ballen, Brassaï, Helmut Newton, Sophie Calle, and Boris Mikhailov are my top favorite photographers. Whenever I view the work of these artists, it reignites my love for photography. Their collective influence on me is profound, characterized by their boundless energy and passion for the craft. Among them, Roger Ballen has had the most significant impact on me, particularly through his series Outland. His ability to find order within chaos is truly captivating and magical. This discovery resonated deeply with me upon closer inspection of his photographs. Ballen's unique approach to form, light, composition, and space fascinated me, as he skillfully orchestrates a sense of order amidst disorder. His images, though devoid of traditional compositional principles, exude a compelling sense of perfection. The use of flash in his work is also intriguing, as it illuminates and transforms spaces, infusing them with new meanings. Exploring the materials, textures, and placement of objects in his photos further enhances the depth and richness of his storytelling. Each element seems to carry its own history and memory, prompting me to ponder the untold stories hidden within the walls captured in his images.

Der Greif: What are you working on right now?

I’ve recently published "Porcelain and Wool" with heCTIC BOOKs. It’s a special edition because it's the first photo book not only for me but also for the graphic designer and the publisher I’ve worked with. It was a very difficult process, mainly because I never thought about a photo book or imagined my photos in a book before. The process was challenging, as I had never considered creating a photo book or envisioning my photos in this format before. It demanded a completely new mindset, requiring me to view my photos from a fresh perspective. It was crucial for me to maintain a sense of ownership over the book and to connect with it authentically. Overall, I am content with the outcome; it has evolved into a cherished object. Currently, I am in Vienna for a month-long residency in October, an opportunity that is entirely novel to me.

Der Greif: What kind of gear do you work with?

I use digital equipment: a Canon digital camera, an external flash, and a tripod.

Der Greif: What do you look for/value in your gear today? Any thoughts on used gear?

I rely on digital technology and have no intention of distancing myself from it anytime soon. Currently, it resonates most closely with my artistic sensibility and the way I approach my subjects. I find that working digitally imbues my subjects with a sense of lightness and modernity, which complements my photography style rooted in an appreciation for vintage items and post-socialist cultural artifacts. While there are various elements in my photographs signaling their contemporary nature, I believe that the use of digital techniques specifically enhances their modern aesthetic. This choice helps me keep my subjects relevant, blending the past with the present, and strengthening the impact I aim to evoke in viewers.

Der Greif: What is the story behind the first camera you ever used?

My parents gave it to me for Christmas. I had a cousin whom I looked up to as a child, and I liked to emulate her in everything. She had a little compact Canon that she used to document everything around her, digitize it, and then organize the photos into folders on her computer. I loved it and cried for my parents until they bought me one. At the time, I loved to imitate my cousin, so I started taking photos too. I was about 11 when I started to photograph.

Der Greif: Can you tell us what this scholarship means for you?

For me, the scholarship is an opportunity for visibility. It is also an important professional feedback for me. It's a great feeling when your work is appreciated. I am very grateful for it!