30 June to 19 August
In the years following the death of Hungarian artist Emese Kudász, her son Gábor Arion Kudász catalogued her entire estate and photographed it to secure her fast-fading trace in time, so as to establish a guide to the workings of memory. The method of the photographic research disrupted the order of things she had created, the context that surrounded her and was distinctively her own. Through these cracks hidden aspects of her personality emerged, together with a previously unrealized coherence among her objects; it is no longer possible to tell whether these had existed before or were only the result of the intervention.
Whatever has been in the ground for a long time, say archaeologists, has probably found its best place there. What they mean is that while the excavation may promote knowledge, an important part of the context preserved under the layer of ground is lost when disrupted. The central conflict Kudász faces in his Memorabilia is that on one hand excavation and the documentation of the past serve understanding, on the other hand they accelerate the process of disintegration.