Gipsy-Portrayal in Modernity at Kunsthalle Krems
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Gipsy-Portrayal in Modernity at Kunsthalle Krems
Károly Ferenczy, Gipsies, 1901. © Hungarian National Gallery, Budapest.



KREMS.- The Kunsthalle Krems shows for the first time in Europe an exhibit about gipsy-portrayal, which not only serves the sociologic-historical approach but also shows images of a very high art historical relevance, on view through September 2, 2007. Until today this examination is controversial therefore broad presentation and information is essential. Roma and Sinti are Europe's largest ethnic minority, the approximately eight million members speak different languages. These all have an east Indian source in common, during the centuries different local varieties developed.

The 'innocent' gaze does not exist, every gaze mirrors a certain structure of society. Der gaze onto the discriminated group of the gypsies experienced several changes during the 19th century. Paintings and photographs show this process.

The portrayal of the 'gipsy' in stereotype professions – such as scissor grinder or fortune teller – marks the beginning of a european drawing tradition with essential works in the 17th and 18th century. Numerous paintings from the 19th century show impressive portrayals of the Roma: prosaic illustrations which are in fact mythical glorifications of the gipsy life as well as the issue of social problems and tensions. Modernity for the first time gives an important social position to the many centuries segregated ethnic group.

Works of Giacomo Francesco Cipper, August Pettenkofen, Anton Romako, Mihály Munkácsy, Károly Ferenczy, János Valentiny and Otto Mueller show the modified and improved aperception of this ethnic group.

The exhibit is completed by approximately 70 impressive examples of historic photography from 1860 – 1930 from the collection of the Ethnographic Museum Budapest. They show that the transfiguration, romantic presentation and ethicizing approach in the paintings find their continuation in photography. Staged exposures in the studio show ideals of gypsies with attributive objects. Especially in the Inter-War Years many photographs were made by the police, which creates again a specific and designed reality.

The simultaneous show of the photographer Yves Leresche builds a brigde to the current situation of the Roma in Romania.


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