Instinctively Staged Photographs
A photographer’s ability to observe reality and offer it for interpretation and criticism is a powerful mechanism that can shift thought processes and become a drive towards change. Kata Geibl engages the viewer in the political, environmental, and social questions that invite them to engage with her in an analysis of the visual and written elements as presented in There Is Nothing New Under The Sun. In her first book, The Daylight, Kata questions the essence of being an artist and producing artwork.
She introduces the concept of an artist as a businessman and entrepreneur through her personal story and investigation of the capitalistic approach to labor. Kata explains the initial idea of writing the book: “Watching the several attempts to get exposure during a pandemic, still producing, putting our anxiety and fear aside, this is when it hit me. Our economy and society are not designed to shut down; the ideology of our time is individual responsibility.“
Kata Geibl is a photographer who grew up in Budapest, Hungary, and today works between her hometown and The Hague, The Netherlands. Kata earned her first MA in Photography from Aalto University School of Arts and her second MA in Photography and Society from Royal Academy of Art, The Hague (KABK). She is currently studying towards a Ph.D. at Moholy-Nagy University of Art and Design (MOME). In this interview, we speak with Kata about the shift that occurred in relation to her work after her studies in KABK. We discuss her fascination with photography since the age of 5 and her passion for cinematography, a path she decided not to pursue eventually, choosing the art of image-making. Kata also presents her first monograph, There Is Nothing New Under The Sun, and her soon-to-be-released book — See Daylight.
‘I always hid behind my images, did not want to reveal anything personal about my work, instead, I was hiding behind big words. In The Hague, this distance was erased, and I could finally stand in front of my images instead of behind them.’
The Location
You grew up in Budapest — we have discovered that the scene of photography is a very thriving one in Hungary. How would you describe the city and the local scene to fellow photographers from other countries?
The Hungarian photography scene is quite diverse, which is also why it’s thriving. No genre or style has taken the upper hand, so there are always new artists and ways of storytelling emerging from the scene. And also, the Hungarian photo world is super small, so everyone knows each other, which gives the whole community a very familiar feeling.
How do you think the change of location, as studying towards your Master's degree in Photography and Society in The Hague, The Netherlands affects your practice?
After my Bachelor's studies, I took one year off from my education to think about which Master's program to apply to. It was quite a conscious decision, and of course, gut feeling helped me a lot. In the end, I chose this very specific program at KABK. The MAPS program doesn’t envision the outcome of a project in a typical white space scenario, instead, it is critical of the medium and challenges the students all the time about their practice.
This was exactly the kind of a change I needed after my Bachelor studies, which were more focused on the aesthetical side of image-making. I changed during these two years in The Hague tremendously, on a personal level, which was also followed by my artistic practice. I felt secure and understood, however much I was insecure about myself and my work, which helped me realize there is nothing to be afraid of when being personal in your work. I always hid behind my images, did not want to reveal anything personal about my work, instead, I was hiding behind big words. In The Hague, this distance was erased, and I could finally stand in front of my images instead of behind them.
‘Photography, ever since I was five years old, was a passion for me, but I did not realize growing up that it’s also art, which is quite funny’
The Shift
When you speak about film directors, who have an impact on your vision in other interviews online, I relate to the names you mention as Antonioni, Tarkovski, Lars von Trier, etc. It made me wonder and imagine this scene when you explained you wanted to become a film director, but after being on set, you decided to make a shift in your career. Could you describe your experience, this contradiction between what you imagined this role would entail to the reality, followed by your decision to move to photography?
Yes, I grew up watching movies all the time. I guess now, looking back, films were the main art form for me as a teenager. Even though I’m sure I did not understand half of what was going on in Bergman's or Tarkovsky's films, the feeling that comes before an understanding was there. So this urge to become a movie director, I think, came from that. I just simply wanted to become an artist, and film was the only genre back then which I could relate to.
And to get back to your question, why after being on a film set I decided not to pursue my dream of becoming a director any longer. Maybe this is not the case for all movie productions, but I saw a very strong hierarchy on set. And, of course, on top of everything, the producer and director. I couldn’t identify with such a centralized power structure back then, and I think even less now, so that’s why I chose to become a photographer. Photography, ever since I was five years old, was a passion for me, but I did not realize growing up that it’s also art, which is quite funny if I think about it now.
‘I have always struggled with the concept of promoting my work and for that matter also myself as an artist. I believe it is more important to be sincere to yourself and what you do, and if you do that, people will be open to hearing what you have to say. I’m a bit romantic in that sense.’
The Practice
Consumerism has become an unstoppable machine with an enormous impact on people, designing their desires and on earth, a topic Pasolini was vocal and concerned about in the 70s. Once an artist publishes their work on social media, it becomes a product that is rapidly consumed. What is your path to building yourself as an artist, deciding on the method of communicating your work with the masses, and choosing the tempo to release projects?
During the pandemic, I wrote a book about the very same issues you just addressed. How our whole society is built on the pursuit of success and consumerism in the widest sense. How artists can challenge these discourses not to fall into the trap of producing just to please the market. So to get back to your question, I never quite think about the strategies for marketing my work. I have always struggled with the concept of promoting my work and for that matter also myself as an artist. I believe it is more important to be sincere to yourself and what you do, and if you do that, people will be open to hearing what you have to say. I’m a bit romantic in that sense.
‘I would say the one with a horse in a mask. I think it is a very open image in that sense that the layers of interpretation are free.’
The Drive
What is your main passion in photography or what drives you to continue working?
I always feel like a different person when I have my camera in my hands, being in the flow of a shooting when the unexpected is taking over, or just when you lose track of time sitting at your desk with your sketchbook. Maybe it’s a bit selfish, but this rush that I feel when shooting or just researching is something that drives me to continue.
‘See Daylight is the artist book I wrote during the pandemic. Many artists, after the breakout of the pandemic, found themselves robbed of their identity. Who am I if I can't take images?’
Upcoming Projects
What’s the next thing we’ll see from you? Tell a bit about the work on See Daylight.
See Daylight is the artist book I wrote during the pandemic. Many artists, after the breakout of the pandemic, found themselves robbed of their identity. Who am I if I can't take images? During the lockdown, we were forced to leave the rat race and reflect on our work. This is, of course, quite challenging for an artist, as we are entrepreneurs without any safety nest whatsoever. If we stop working, our livelihood is in danger. Watching the several attempts to get exposure during a pandemic, still producing, putting our anxiety and fear aside, this is when it hit me. Our economy and society are not designed to shut down; the ideology of our time is individual responsibility. We abandoned collectivism and emphasized the empowerment of the individual and their progress as the key to success. An entire generation called the Millennials — which I am also part of, grew up with these promises. In the artist book, I talk about these issues in a very playful, understandable, personal way. The photobook, which I mentioned before, that is coming out this November, is the mix of these texts and collages together with the staged images from There is Nothing New Under the Sun.
