09/06/2015 – 31/10

Capa in Color

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For the first time in Europe at the Capa Center

Robert Capa is one of the world’s most recognized war photojournalists. But only a few people knew that from 1947 until his death in 1954 he almost always carried at least two cameras, one of them with black and white film and the other with color. There are over a hundred color prints, related magazines and accompanying letters by the world-renowned photographer in Capa in Color–the majority seen for the first time in Europe, right here in Budapest’s Capa Center.

09/06/2015 – 31/10

Somewhere in France

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John G. Morris 's exhibition

Robert Capa’s friend and editor John G. Morris’s exhibition entitled Somewhere in France – The Summer of ’44 shows us Normandy in the summer of 1944, following the landings on D-Day. Unlike Capa, Morris took his pictures for himself, and they were not published until 2014. Thanks to the cooperation of the 98-year-old Morris and Robert Pledge, director of the prestigious photo agency Contact Press Images, the audience can see images in the Capa Center that had been hiding in a drawer for seventy years.

02/10/2015 – 21/10


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Péter Kollányi’s book and exhibition

The photographs presented here are selected from Péter Kollányi’s album published by the Capa Center on the occasion of the fifth anniversary of the Devecser and Kolontár red sludge disaster. For over a year the Hungarian documentary photographer had shot images of the ghost villages before the abandoned houses were knocked down. The exhibition is free and it’s open to the public from October 2.


The Recipe Book

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Eszter Biró’s exhibition

Eszter Biró’s grandmother was taken to Bergen-Belsen, when she was 16 years old. She only took two items with her: one of them was a notebook in which she recorded a collection of her favorite poems with a pencil. She erased the poems from the notebook at the concentration camp and replaced them with recipes. In the exhibition at the Project Room, besides the original recipe book and the pages processed by Eszter Biró, the cut-up negatives of the photos are also displayed as a symbolic aspect of the unavailable food.