A few years back, when I first came across Roddy Doyle’s Two Pints, I gave a copy to two Irish lads in Budapest thinking that it was worth staging. We never did, but the thought was there.
I was a fan of the 1980s American TV series Hotel, which opened with establishing shots of the legendary San Franciscan hotel The Fairmont. I’ve a great photo of a much younger me and my bestie Lori sipping Bloody Marys in the bar hoping to catch sight of Anne Baxter, James Brolin, or Connie Sellecca. Read more
If I ever got to have a dinner with the dead, one of my invites would go to the economist Milton Friedman. His 1970 essay for the New York Times – The Social Responsibility of Business is to Increase its Profits – would make a fascinating discussion over the roast lamb entrée. Read more
It was 2006. Rhonda Byrne’s book The Secret had everyone dreaming the impossible dream. I read it, too. Just to see what the hype was about. I remember being singularly unimpressed that nearly all (if not all) her examples of asking and receiving, of visualising, involved bigger houses, faster cars, better stuff. They all seemed to be about getting and having rather than dreaming and doing. That said, it was a while ago and I could be misremembering.
Heading back from a party in Tát on Sunday, we took the long way home to stop by Zalacsány and the Örvényeshegy piknik. Billed as three days filled with music, theatre, literature, and children’s programmes, we caught the tail end of the proceedings – the Sunday afternoon.
Eons ago, I hung out with a guy who, as a teenager, lost the use of his legs in a shooting in New York. Wrong time + wrong place + stray bullet = life in a wheelchair. Cursed as I am with a brazen curiosity, I asked more questions than considered polite when we first met. I was horribly patronising in my effusive admiration of how well he got around. He was simply living his life and there I was congratulating him for getting out and about! I cringe when I think of it. Earlier this year, I was introduced to World Shooting Para Sport (WSPS) European Champion Gold Medallist Krisztina Dávid. My admiration this time wasn’t for the fact that she gets out and about in her wheelchair but that she’s an international shooter, winner of Hungary’s first European Paralympic Gold in a sport I know nothing about. We met up last week for a chat. Read more
I’m not a great one for wine-tastings. I have a thing about pretentiousness. I don’t trust the lingo. Talking of balance and body and finish and legs and such brings out the blue collar in me and I resist what I see (irrationally) as poncey. I’ll fess up. It’s my issue. It’s in my head. Mine alone.
Last year, Hungary made the international news because of a controversial decision to pull a production of Billy Elliot. Billy Elliot musical branded gay propaganda in Hungary and cancellations follow, said the New York Times. Billy Elliot musical axes dates in Hungary amid claims it could ‘turn children gay’, decried The Guardian. Hungarian State Opera axes Billy Elliot shows after homophobic campaign, noted The Telegraph. Read more
Of all the questions expats ask of each other, what do you do is probably right up there as the most common. I’m in finance. I’m in sales. I’m in publishing. Package expats, those working in Hungary for a multinational, are a breed apart from the freelancers, the English teachers, the artists. And while the paid pensionable positions significantly outnumber less lucrative take-the-work-when-you-get-it (in my experience), there’s an undercoat of artistry and creativity seeping to the surface.
I first came across British artist Michael Pettet a couple of years ago. At the forefront of digital art, Pettet embraced the challenge of imbuing the product of technology with soul. He showed me how his canvas is his drawing tablet; his paintbrush, a touch-sensitive electronic pen; his palette, Photoshop. He approaches his digital paintings much as he did when he used traditional materials. The end result evolves from the interweaving of thought and inner dialogue and, as with any art, the magic lies in its interpretation.
With his environment a major influencer of his work, Pettet’s portfolio can be categorised by location. One of my favourites, Lament, harks back to memories of his childhood holidays in Scotland, a series entitled Scapa Flow. Another, one I still covet, is from the Sala de Uyuni (salt flats) from his time in Bolivia.
A huge fan of his work, I was intrigued to hear of his Chernobyl Diaries, most likely because Chernobyl is the bogeyman in my life, the personification of a danger that has indelibly tainted the power of nuclear in my mind. In the aftermath of the 1986 explosion at the Chernobyl Nuclear Power Plant, Irish activist Adi Roche went to help with the children who had suffered the consequences and in 1991, set up Chernobyl Children International. That the environment was damaged is a given. But the lasting human scars, the legacy of that radioactive explosion, removed from the abstract of news reporting and made all so real to the Irish of my generation by Roche’s work are something nightmares are made of. It may have happened over 30 years ago, but the disaster that is Chernobyl isn’t going anywhere.
The CCI website says:
Two million people in Belarus, of whom 500,000 are children are high-risk, still live in heavily contaminated zones. Continuing low dose exposure through the food chain remains a huge risk for the populations: Some areas of land will be radioactive for 24,000 years, as much as 1 million hectares cannot be farmed for 100 years.
Pettet recently visited the ghost town of Pripyat. What he saw there left a lasting impression, an impression he has diarised in his art, covering the explosion and its aftermath and the faint attempt at rejuvenation. But his artistic commentary isn’t limited to one incident and its consequences. Pettet’s latest series holds up a mirror to our global self-indulgence and reflects the consequence of our failure to adjust our lifestyle to mitigate climate change.
That we are ignorant of what might be in store is no longer credible. The evidence is there. Science has spoken. That we are ignoring the signs of what the future holds speaks either to a seriously misguided optimism that it’ll all work out or a carpe diem lassitude that takes living in the present a step too far. Twenty-first-century hedonism has little regard for consequences. Consumerism is our new mantra, smartphone screens our preferred landscape. We’ve eschewed both the broader picture and the microscopic viewpoint, preferring to live in echo chambers of our own making. Our complete disregard for nature, our wanton destruction of our natural habitats, and our reckless depletion of our natural resources mark us as misguided idiots, at best. For Pettet, Chernobyl embodies the
conflict between humanity and nature, how we are going to manage our existence with ever increasing energy demands and how things can go horribly wrong if we cut corners or become complacent.
The pieces that make up the Chernobyl Diaries include broad sweeping images of an empty world and smaller compositions of the minutest detail that suggest atoms at play. Each one speaks to the viewer and positions itself in their memory, coloured by their recollection and knowledge of what happened in 1986. Pettet deliberately plays to our fears, tapping into the concerns that riddle our collective consciousness.
Although no stranger to the topic of war and disaster [most of his work is about conflict, even his portrait series, which deals with internal conflict as we enter the age of real vs virtual existence], the Chernobyl Diaries are more about the tenacity of nature rather than the horror of nuclear disaster.
I decided not to challenge myself to deal with the horror as above all I wanted to impress that whatever we do to the planet, it will survive us. It may take many thousands of years to recover from our parasitic consumption of its abundant resources, but nevertheless, recover it will.
Viewed through this lens, this body of work is both inspiring and chastening. Each piece, like a single diary entry, can be taken alone, but together, they tell a story of evacuation and desertion driven by radiation and destruction. They tell a story of reclamation and rejuvenation. They tell a story of resilience, of how the planet will recover, of how it will survive, despite our best efforts to destroy it.
The Chernobyl Diaries are the result of a conversation between the artist and his subject. The exhibition facilitates a conversation between the viewer and Pettet’s art. At first glance, they’re gripping. But when viewed a second or even a third time, something shifts. It’s this fluidity that marks his work as special. Through this body of work, Pettet’s ‘realisation of just how small and insignificant we are and yet how dangerous and threatening we have become’ shines through.
On exhibition at The Studios, BrodyLand (Vörösmarty utca 38) until 23 April, Chernobyl Diaries then moves to Fuga Art Gallery (Petőfi Sándor utca 5) opening 4 May and running for three weeks. One not to be missed. Check him out at https://www.michaelpettet.com/
First published in the Budapest Times 12 April 2019
First published in the Budapest Times 10 April 2019
I’ve driven the road from the village to Sármellék and on to Balatonszentgyörgy often enough to comment repeatedly on the dead trees and reed fields that follow it on either side. I knew the Kis-Balaton (Little Balaton) was once drained to increase the amount of available agricultural land in the area but when the Balaton waters started to suffer because of it, it was reflooded to act as a much-needed filter for the lake that is the backbone of Hungary’s domestic tourism.