During Paris Photo, the Lumen Gallery from Budapest, Hungary will be showing work from several eastern European photographic artists. Here is a brief preview.

Tehnica Schweiz

For The Garage Project, 2007-2009, we started to explore Hungary's longest garage line in Dunaújváros. The garage yard, which has been built for the workers of the Iron Factory, was part of the development and modernization of the town built in the beginning of the 1950s, though it was finished only ten years  later, towards the end of the 60s.

Today, the garage city is mostly a meeting point for men, for getting a rest from the family, and also a spot for adolescent culture. Vast garage doors hide secrets, private places, different hobbies and professions.

Our work had three stages. In order to understand the diversity of garage usage, and learn more about its construction, first we tried to document as many existing garage interiors as possible. In the second stage of the project we rented a garage ourselves. We asked our friends to imagine what the garage doors could hide and plan in their own garages. Among our own ideas, we created these and photographed them.

In the end we organized a garage festival, for which anybody could come and bring any program. As a result of this, nearly all resident amateur music bands (for which the garage is also their rehearsal room), bikers, the poetry circle, jugglers and a big group of young volunteers participated in the festival. We also organized the festival in September 2008 and 2009. Both events, starting from the preparations, over the campaign and the realization of the programs, were organized on a totally volunteer basis.

– Tehnica Schweiz

Tehnica Schweiz is the name of the cooperation of Gergely László (1979) and Péter Rákosi (1970) since 2004. Tehnica Schweiz projects are those on which they work together and separately.  

Krisztina Erdei

Nearly all her pictures have some strange, odd character, as if we would receive a different transmission during our viewing. Her pictures are humorous, but they can also be grotesque. Her images are not ironic, more possibly we could call them
a wake dreaming bypassing our normal experiences. Of course, her pictures root much more in reality, for which she manages to call our attention to interesting interrelations and formal analogues. The basis of the creation of her photographs is often the documentation of and analysis of real social, cultural, or lifestyle

– József Készman

 Zsolt Fekete

In the hint of time, 2003-2010: 
The picture pairs of Zsolt Fekete are about time and change. He returns to places where somebody already took a picture long ago. He recreates the place and the spectacle to show the tiny configurations of change by confronting past and present. The landscape has not changed much in this time; the hints of the transitions of nature and human intervention are inappreciable. The immortalized instant grows to hundreds of years. Citing Kierkegaard, "By bringing back, sustaining the prevalence and repeating, we receive the chance to take a glance at nature, and in it, the structure of our very own selves." 

– József Készman

This article is part of a series previewing galleries showing at Paris Photo 2010, where the spotlight this year is on Central and Eastern Europe.