Rorschach Image

30. April 2022. – 12. June
MegnyitóOpening: April 29, 2022, 6:00 pm
MegnyitjaRemarks by: Tóth Balázs Zoltán
The House of Arts Veszprém’s group exhibition Rorschach Image presents a selection of Hungarian photographic works from the last fifty years. The exhibition in three separate exhibition spaces deals with questions of mirrors and mirroring and is dedicated to the 100th anniversary of the death of Swiss psychiatrist Hermann Rorschach, who used the inkblot test named after him to map the personality structure of his patients.

 The Rorschach inkblot test is a diagnostic tool used in psychology and one of the most widely used projective tests of the 20th century. Its purpose is to enable the psychologist to map the personality structure of the patient in order to complement other tests. The test consists of ten panels with symmetrical ink blots. Five boards are black, two boards have black and red spots and three boards are multicoloured. The boards are uniform throughout the world and are among the most famous paintings in the world. Rorschach’s nickname in high school was “Klex” (inkblot), and klecksography was a common game among Swiss children at the time. An ink stain was made on the paper and then folded in half. By mirroring, the ‘blob’ resembled a butterfly, bird or other shape.

The exhibition in the three separate exhibition spaces of the Dubniczay Palace in Veszprém deals with the issues of mirrors and mirroring. The group exhibition presents a selection of Hungarian photographic works from the last fifty years. The exhibition features works by Imre Bak, Ákos Czigány, Máté Dobokay, Ágnes Eperjesi, Miklós Erdély, Gábor Gerhes, Zsigmond Károlyi, Dóra Maurer, László Méhes, Hajnal Németh – Balázs Beöthy, Gábor Palotai, Géza Perneczky, Sándor Pinczehelyi, Zsuzsi Ujj, János Vető and András Zalavári, all of whom have used analogue, digital and off-camera methods. Dezső Szabó’s latest “cameraless” series, Copy, will be shown in its entirety for the first time.

Some of the photographs explore aspects of composition and illusion and by analysing the aesthetics of the mirror image, they reveal the pictorial relationships and incongruities with reality. Other works focus on the mirror as object, where the reflective layer itself becomes visible by eliminating or bypassing the reflection. In other works, the concept of the copy, its visual representation is realised through the physico-chemical properties of black and white photographic paper. Only the chemicals used for calling and fixing, the light and the folding of the photographic paper as a defining, unique element create forms on the surface. During the chemical treatment, tiny repetitions and reflections are formed along the creases and folds, into which any shape can be seen.