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Institute of Visual Culture

 

1. Name of the Institute

 Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 Prof. Dr. SZEPESSY Béla István

3. Research area and keywords of research

 Art

4. Research objectives (in 1-2 sentences)

 Printing Block and Computer. Interaction between Classical Graphics Methods and the Computer Graphics

5. Description and results of research (in detail, max. 1500 characters)

  •  1.           The new type of image created in the 20th century, the digital image brought something new in fine arts expression, in a narrower sense, in graphics.
  • 2.            The traditional, classical graphics methods, the preceding images influenced and still influence the formation and development of the digital image.
  • 3.            The form of appearance, the proportion order, the filters and effects are all influencing the traditional, classical graphics expression.
  • 4.            The digital technique appears in almost every area of the traditional graphics techniques.
  • 5.            The application of the combined techniques makes possible the “humanization” of the computer, resolves the problem of the individual, the series and the clone.

6. Research partners from other institutions (if any)

 no

7. Other information (if any)

 

8. Publications (max. 5)

 Béla Szepessy: Pushbutton and / or computer - The Red carriage car, 2012 / January

Creation: Béla Szepessy, Székelyföld, XVI. 3rd grade March 2012

Some thoughts about József Domján's woodcuts - LUPE magazine May 2014

Szepessy Béla: Grafikák, Kiadó: Silk&Design Kft.Szováta. Románia. ISBN 978-973-0-19036-6.

Béla Szepessy: Stomp and / or Computer - Interaction of Traditional Graphic Procedures and Computer Graphics, Háromszék vármegye Kiadó, Sepsiszentgyörgy, 2016. ISBN 978-6068598-17-8

Lulu 80 Tales of Standing and Moving. Hungarian Academy of Arts and Te-Art-Rum Ed. Gyulai Kati ISBN 978 615 5484 88 1

Hungarian Diary, XXX. grade August 2018, illustrations,

Reformation 500. Edited by Árpád Kulcsár. Béla Szepessy: "Blurred by the mirror". The margins of a peculiar historical panorama. P. Partium Christian University, Partium Publisher János Selye University Calvin J. Theological Academy Nagyvárad-Komárom 2018. ISBN 978-606-8156-99-6, ISBN 978-80-898999-05-0

 

 

1. Name of the Institute

 Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 Dr. Jankáné prof. dr. habil. Puskás Bernadett, PhD

3. Research area and keywords of research

The cultural features and relationships of East-Central Europe, the East-West Border Region - the art of the Byzantine church in the wider Carpathian region, in South Poland, in Ukraine and in the Kingdom of Hungary, primarily painting, the characteristics of the churches and equipment of the former Greek Catholic diocese of Munkács (Mukacheve).

post-Byzantine art, icon painting, byzantine iconography, byzantine church architecture, contemporary post-byzantine art in Hungary

4. Research objectives (in 1-2 sentences)

 The relics subsisting in the territory of the historical Diocese of Munkács (Mukacheve) are witness to the fact that although local peculiarities can be detected in this art, it is nevertheless tightly connected to the culture of the Byzantine-rite, and then later Greek Catholic bishoprics created in its vicinity to the North, East and South.

5. Description and results of research (in detail, max. 1500 characters)

 The research currently being conducted is aimed at as full as possible an acquaintance with the set of cultural artifacts that can be found in the possession of parish communities of the historical Mukachevo eparchy or that were acquired by collections in Hungary or elsewhere. The relics subsisting in the territory of the historical Diocese of Munkács (Mukacheve) are witness to the fact that although local peculiarities can be detected in this art, it is nevertheless tightly connected to the culture of the Byzantine-rite, and then later Greek Catholic bishoprics created in its vicinity to the North, East and South. The art of these bishoprics can be studied together, and may be considered as forming a larger and higher-level unit that can be clearly defined and distinguished from the more distant post-Byzantine spheres of art. In the late Middle Ages, in the Carpathian region, besides the western and eastern connections, the southern Balkan effects had a significant role in  the post-Byzantine icon painting of the Hungarian and Polish Kingdom.

6. Research partners from other institutions (if any)

Lviv: Sheptitsky National Museum, Kraków: Jagellonian University, UPJPII, Muzeum Narodowe, University of Prešov

7. Other information (if any)

 

8. Publications (max. 5)

  •  Kelet és Nyugat között. Ikonok a Kárpát-vidékén a 15-18. században.Between East and West. Icons in the Carpathian region int he 15th-18th centuries. Magyar Nemzeti Galéria, Budapest 1991, 1-80.
  • A görög katolikus egyház művészete a történelmi Magyarországon. Hagyomány és megújulás. Szent Atanáz Görög Katolikus Hittudományi Főiskola – Magyar Képek Kiadó, Budapest 2008, 1-320.
  • „Questions Related to the Research of Greek Catholic Art: Debate about the Concept of the Carpathian Region and Its Lesson”, in Véghseő Tamás (szerk./ed.): Symbolae. Ways of Greek Catholic heritage research. Papers of the conference held on the 100th anniversary of the death of Nikolaus Nilles SJ – Symbolae. A görög katolikus örökségkutatás útjai. A Nikolaus Nilles SJ halálának 100. évfordulóján rendezett konferencia tanulmányai, Nyíregyháza 2010, (Collectanea Athanasiana - I. Studia, 3.) 123-140.
  • Quelques données concernant les icones d'Ilia de Wisznia, peinre de Munkács. Alba Iulia_ APULUM L: pp. 47-70. (2013)
  • Portreti grekokatolickih jepiskopiv XIX-XX stolit' u m. Nyíregyháza [Портрети греко-католицьких єпископів XIX-XX століть у м. Ніредьгаза] In: Coranic, Jaroslav (szerk.) Gréckokatolícka cirkev na Slovensku vo svetle vyrocí, Presov, Szlovákia : Prešovská Univerzita v Prešove, (2016) pp. 143-152. , 10 p.

 

 

1. Name of the Institute

 Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 József Tarnóczi

3. Research area and keywords of research

 Aspects of spirit and matter in painting – „status absolutus” in painting

4. Research objectives (in 1-2 sentences)

 The program I am pursuing (and implementing) aims to integrate the three possibilities of color (natural, soul-based, spiritual, or J. Itten's expressions: impression-based, expressive, constructive), to achieve unity (within the framework of a non-figurative painting program), strictly enforced at the same time, the characteristics of the paint and the color, the sensual character of the materials used.

5. Description and results of research (in detail, max. 1500 characters)

 The so-called "basic facts" of traditional painting are still available today, and if we consider the material conditions, they have not changed substantially over the past millennia. The basis of painting (canvas, planks, wall surfaces, etc.) and the paint materials (as well as various painting methods, techniques) still provide the material basis of painting, while the "spirit", the spiritual contnent, which is expressed in the work, is still difficult to define as it was centuries ago, in spite of its highly visible sensual and concrete "traces".

The program I am pursuing (and implementing) aims to integrate the three possibilities of color (natural, soul-based, spiritual, or J. Itten's expressions: impression-based, expressive, constructive), to achieve unity (within the framework of a non-figurative painting program), strictly enforced at the same time, the characteristics of the paint and the color, the sensual character of the materials used.

1. color as an expression of natural sensitivity, the color by its natre, reflex, realism, light and shadow, space, vibration, etc.

2. the relationship between color and emotionality, the representation of color as an  world of emotion and passion. The forces that make up man (deep consciousness), the power and tension of color, issues of harmony and dissonance, etc.

3. color as universal reality, immersion in truth and infinity, symbolism experienced and explored (and not bloodless!), Color as an ancient principle, relation of colors to light (in a higher sense), "color metaphysics" .

Bearing in mind the deeper unity of these three possibilities and principles, my goal is to create works that combine the content layers of color with personal and specific (often natural) color experiences, making the most of the very different characteristics of materials (substrates and paint materials).

In my conception of painting I am highly motivated by the difference between the painting and the painting of the past and the present. The questions of applicability,  is the complexity of the construction in material and color, which is accompanied by the complete absence of the narration of the object and the absence of the image.

6. Research partners from other institutions (if any)

 -

7. Other information (if any)

 -

8. Publications (max. 5)

2000-01 “Dialogue - Painting at the turn of the millennium”, Kunsthalle, Budapest

2009-2010 "Silver Rectangle", Carpathian Euroregion International Painting Triennial, Poland, Slovakia, Ukraine, Romania, Hungary

2011 “Parallel Realities” (solo exhibition), Mű-Terem Gallery, Debrecen

2012 Center of Life, DMK Downtown Gallery, Debrecen

2015 "Here and Now" - National Salon of Fine Arts 2015 /Documents/, Műcsarnok, Budapest

2016 “Metamorphosis”, Cork Gallery, Hajdúböszörmény

 

 

 

 

 

 

 

 

 

1. Name of the Institute

 Institute of Visual Culture, University of Nyíregyháza

2. Name of the researcher(s) and research group (if applicable)

 Tibor Zielinski DLA (Individual research)

3. Research area and keywords of research

 Opportunities for Creating Illusion of Space in Sculpting

4. Research objectives (in 1-2 sentences)

 Having examined spatial illusion-making, I arrived at presenting the most simple illusion-makings as well as artworks that evoke the illusion of the world beyond the third dimension, i.e., picture phenomena beyond the third dimension.

5. Description and results of research (in detail, max. 1500 characters)

 In the last semester of the three-year DLA programme, I was a student of the Accademia di belle Arti di Brera in Milan. My work entitled ”Gates” was made here. In the case of my work ”Gates”, one might think of chaos at first sight until the observer focuses on the gates. In any case, the entire composition depicts the easily visible system with the regularity of an octagonal ”crystal shape”. The outer scratched glass plates of the work have their continuation in mirror plates that are held by a low and matt black mounting. The matt black is the nothing, the ”medium” absorbing light, and the mirror reflects light and mirrors the observer looking at it. The glass means transparency on which the scratched line appears as a line drawn out of the exceptionally dispersing light. With these means, I strove to attain a ”non-material” effect, as far as possible. Once, strolling along on the main street of Milan, I looked through an open gate. Through the gate, on the other side of the richly decorated reception area of the building, I could see a courtyard, and across the courtyard another gate, through the gate another street and the gates on the other side of the street. This very moment incited in me a train of thought. It was not so much the wellwrought gates that fired my imagination but the entire system of connections, the way inner and 8 outer spaces alternate. The gates, besides being entrances and exits in a physical sense, often are boundaries or stations of momentous episodes of our fate. In a figurative sense, crossing the threshold frequently means more than simply going through an entrance or passage. In this life, here and now, you make a certain choice, you pick a certain gate, but at the same time in a parallel universe your parallel self chooses another gate—this can repeat endlessly. With the gates, I tried to show time itself and its structure or, at least, make them perceptible in some way. The individual gates as phases, moments, epochs are situated next to each other and are visible at the same time as well. However, we can try to focus on the glass plates separately. Certain time layers remain hidden from us, we cannot see both the plates opposite us and the ones perpendicular to them simultaneously, but if we circle round and have a look at the work from a view at 90 degrees to the previous one, we can see the very plates that were out of sight before, from the opposite side of the statue, we can see the very images in reversed order to that we first saw. Time is symbolised by the glass plates as time slices. Thus, time layers can also be seen as frozen time slices too from the perspective of a mental creature standing above time.

6. Research partners from other institutions (if any)

 Accademia di belle Arti di Brera in Milan (2004)

7. Other information (if any)

 

8. Publications (max. 5)

From September 2005 to August 2007, I wrote articles for Mak-tár, the Hungarian Public Foundation for Creative Artists monthly magazine.

 

2012 Szobrászati technikák Portrék: mintázás, terrakotta és gipsz,

Cser Publisher, ISBN 9789632782423. This book was publish also in English in

2013 Sculptural techniques Portraits: modeling, terracotta & plaster, ISBN 978-963-08-5762-8

 

Doctoral dissertation:

2015 Possibilities of creating space illusion in sculpture DLA dissertation

http://doktori.mke.hu/sites/default/files/doktori/Dolgozat_15_01_20kisKepekkel_zielinski.pdf masterpiece:

http://doktori.mke.hu/sites/default/files/doktori/Mester_15_01_24kicsiPDF.pdf short summary in English:

http://doktori.mke.hu/sites/default/files/doktori/Sculpting%20Thesis%20korrigalt.pdf

 

2019  Catalogue of the exhibition, “Spacetime tailoring” Kroji proctor-casa – Galeria Kemijskega Instituta, Ljubljana, Slovenia

 

1. Name of the Institute

 Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 Tóth Lívia DLA

3. Research area and keywords of research

 Motifs,Volksart,ancient patterns

4. Research objectives (in 1-2 sentences)

I was intrigued to know why turuls,griffons,deer,horses,lions,all of which had always been conspicuous and also featured in the Treasure ofNagyszentmiklós, suddenly disappeared only to reemerge in Árpád Age  stone carvings. Furthermore, I asked why did the sabretache plates themselves disappear? 

5. Description and results of research (in detail, max. 1500 characters)

 Empires would emerge and disappear at a fairly quick pace due to linguistic diversity,a relatively autonomous power strukture,and distant external relations. This however would not entail the migration or disappearance of entire populations. Tribal alliances and conquered people would often assume the name of the new empire or that of the leading tribe (mimicry)which might suggest a change thanks to a shift in the power structure despite the fact that local communities had not moved at all.In such a cases,motifs might be quite revealing while conserving ancient patterns. Archetypes open the door to our subconscious. It is my goal to create images that reveal this merger,this superimposition of layer upon layer, an ambition qite different from that of archeologists who intend to take things apart.

6. Research partners from other institutions (if any)

7. Other information (if any)

 -

8. Publications (max. 5)

About Exhibitions-for exemple, Zalaegerszeg with Bornemisza Eszter,Mestermunkák  in Vigadó Galéria- Budapest, International Felt Exhibitions In Vigadó Galéria Budapest,https://www.zaol.hu/kultura/helyi-kultura/megnyilt-toth-livia-es-bornemissza-eszter-egerszegi-kiallitasa-3029125/

http://zegtv.hu/kulturkor-1135/

https://m.facebook.com/story.php?story_fbid=2481761215181563&id=537983949559309&sfnsn=mo

https://www.zalamedia.hu/galeria/ralatasok---textilmuveszeti-tarlat-a-zsinagogaban

https://www.youtube.com/watch?v=pMwdvpqCIc4

https://fidelio.hu/vizual/finisszazs-a-napkelettol-napnyugatig-kiallitas...

 

 

 

 

1. Name of the Institute

Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

Havasi Tamás

 

The leader of the Research Group: Dr. Andrea Kárpáti DSc, professor, Eötvös Loránd University, Faculty of Science, Science Communication and UNESCO Multimedia Educational Center

Local members of the Visual Culture Research Group:

  • Tamás Havasi graphic artist, master lecturer , a 2. module coordinator (VISUAL MEDIA COMMUNICATION) University of Nyíregyháza, Visual Culture Institute
  • Angelika Ágnes Nagy art teacher (2. module): University of Nyíregyháza, Eötvös József Practice Primary School And High School

http://vizualiskultura.elte.hu/en/kutatocsoport-tagok

Name of the research group: MTA-ELTE „Visual Culture” Methodology Research Group 2016-2020

3. Research area and keywords of research

 „MOHOLY-NAGY VISUAL MODULES – The Teaching of Visual Language of 21st Century” Project. It is part of the Methodology Program of Hungarian Academy of Sciences.

4. Research objectives (in 1-2 sentences)

„A new methodology for art education and curricular modules are being elaborated by the MTA–ELTE Visual Culture Research Group, based on educational theories and practices of the Hungarian masters of the Bauhaus art and design college. This important educational legacy has not been utilised so far in Hungarian public education. The curriculum development to be carried out between 2016 and 2020 is entitled “Moholy-Nagy Visual Modules - teaching the visual lan­guage of the 21st century” to modernise the contents and methods of “Visual culture”, the discipline for art education in Hungary” (https://mersz.hu/hivatkozas/matud_f8111#matud_f8111) (2019.06.07)

5. Description and results of research (in detail, max. 1500 characters)

The completed and realised curriculas (by art teachers of practice primary schools and high schools) based on the programs written by methodology lecturers at Universities.

Teaching and tests surveys will take place between 2016 and 2020. The group holds semi-annual reports, konferences and issues publications.

6. Research partners from other institutions (if any)

UNIVERSITIES, OTHER INSTITUTIONS:

Nyíregyházi Egyetem Vizuális Kultúra Intézet

ELTE Neveléstudományi Doktori Iskola, Budapest

Budapesti Corvinus Egyetem, Magatartástudományi és Kommunikációelméleti Intézet, Budapest

MKE Tanárképző, Budapest

PTE Művészeti Kar Zeneművészeti Intézet, Pécs

Szent István Egyetem Ybl Miklós Építéstudományi Kar Építészmérnöki Intézet

MTA-SZTE Képességfejlődés Kutatócsoport

Eszterházy Károly Egyetem Médiainformatika Intézet, Eger

EKE Sárospataki Comenius Campus Humán Tudományok Intézete, Sárospatak

Mozgássérültek Pető András Nevelőképző és Nevelőintézete, Budapest

Szegedi Egyetem Neveléstudományi Doktori Iskola

 

EXPERIMENTAL SCHOOLS:

Budapest XXI. Kerületi Kölcsey Ferenc Általános Iskola

Budapesti Fazekas Mihály Gyakorló Általános Iskola és Gimnázium

Eötvös József Gimnázium - Budapest

Kőbányai Szent László Gimnázium

Lázár Ervin Általános Iskola - Budapest

Újpesti Szigeti József Utcai Általános Iskola

Szent Miklós Görögkatolikus Kéttannyelvű Általános Iskola, Óvoda és Alapfokú Művészeti Iskola - Edelény

Szent István Sport Általános Iskola és Gimnázium - Jászberény

PAE (Pallasz Athéné Egyetem), Petőfi Sándor gyakorló Általános Iskola és Gyakorló Óvoda - Kecskemét

Nyíregyházi Egyetem, Eötvös József Gyakorló Általános Iskola és Gimnázium

PTE Gyakorló Általános Iskola, Gimnázium és Szakgimnázium Deák Ferenc Gimnáziuma és Általános Iskolája - Pécs

Sárospataki II. Rákóczi Ferenc Általános Iskola

Szeged és Térsége Eötvös József Gimnázium, Általános Iskola Szatymazi Általános Iskolája

7. Other information (if any)

 

8. Publications (max. 5)

Publications we were involved in: (A complete list of Hungarian and foreign language publications can be found on the website under KÖZLEMÉNYEK)

Paper:

- Gaul Emil, Havasi Tamás, Nagy Imre, Sándor Zsuzsanna (2018). A 21. század képi nyelvének tanítása a Bauhaus magyar mestereinek pedagógiai öröksége nyomán. Magyar Tudomány, 2016 (6)

- Orosz Csaba, Havasi Tamás, Gaul Emil, Tóth Tibor (2018). Digitális kultúra a kortárs képzőművészetben és a művészetpedagógiában. Iskolakultúra, 27 (1-12), 63-89.

Conference Lecture:

- Havasi Tamás (2017). Vizuális média kommunikáció, szakmódszertani kutatás. Moholy-Nagy Vizuális Modulok szimpózium. XVII. Országos Neveléstudományi Konferencia, Nyíregyháza, Nyíregyházi Egyetem 2017. november 9–11.

Handbook:

- 2. modul: Havasi Tamás, Orosz Csaba, Tóth Tibor (2016). Vizuális médiakultúra: a médiakompetencia és informatikai kompetencia integrált fejlesztése az 5.-11. osztályban.

 

 

 

 

 

1. Name of the Institute

Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 Zsuzsanna Piti

3. Research area and keywords of research

 Painting, Painters, Silence

4. Research objectives (in 1-2 sentences)

 Research painters who alliable with silence. Paintings or painters whose name, or life-style be one with silence.

5. Description and results of research (in detail, max. 1500 characters)

 The main point of my research was silence as in silent art.

The main subject is painting and silence that goes with it.

However I find that silence also takes part in our day to day lives whether we notice it or not.

Silent painting has a tradition. Jan Vermeer vdn Delft, Caspar David Friedrich, Pierre Bonnard, Giorgio Morandi, Marchel Duchamp, Mark Rothko probably these artists the first ones who come to mind if we mention silence.

Of course without excluding Hungarian paintings from Erzsébet Vojnich, Dezső Váli, Miklós Szüts.

I will talk more about them throught their paintings.

Analysing their age their contribution and how they bring out the feeling of silence from their work in all of us.

These three often mentioned together because they are not only in the same profession but Dezső Váli and Miklós Szüts are close friends and Szüts's wife is Erzsébet Vojnich.

From their work it is clear to see that there might not be two similar forms of silence.

But there are less known artists, forms of art or artists who only dealt with silence for a period of their life, for example silent lives series of Csilla Babinszky.

Perhaps some work of Tamás Szikora also can be mentioned.

I would like to build my research on the contrary stance while working out the contrary argument in its exact form without being biased, but to find out the facts in a way that we can reveal the layers of silence. Maybe this way we can experience the many ideas that come to mind from what seems to be a simple concept. Besides painting my research while include:

Religion, music, drama...

6. Research partners from other institutions (if any)

 

7. Other information (if any)

 Consultant, László Valkó

8. Publications (max. 5)

 

 

 

 

 

 

 

1. Name of the Institute

 Institute of Visual Culture

2. Name of the researcher(s) and research group (if applicable)

 Kinga Eszter Horváth

3. Research area and keywords of research

 Fine art artistic activity, Graphic Art technics

4. Research objectives (in 1-2 sentences)

Real Space, Imaginary Space – to create printed and unique graphic art series

5. Description and results of research (in detail, max. 1500 characters)

On my artist’s papers, drawings and photographs have been created–more than two decades–using both existing and no longer existing gates, staircases, roads bordered with stone walls, unusual spaces with a specific story and atmosphere and natural formations taken from their original environment.

They are simplified in the interest of expression to allow them to be transported into a symbolic world which let the viewer to be transported on their own individual creative journey.

At times these special situations, motives captured both consciously or unconsciously have an independent connection with their own history, cultural heritage.

I aim to use a variety of etched surfaces on the copper plate and with the pure dynamic of the directly lined ink on the paper retain these attributes and inspire the viewer to transform them with their imagination in a way that will create meaningful connections with life, ambience and humanity.

6. Research partners from other institutions (if any)

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7. Other information (if any)

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8. Publications (max. 5)

Private exhibitions (selection)

Gallery of Miskolc (Hungary) 2004, 2016

Ari Kupsus Gallery, Budapest (Hungary) 2012

Boltíves Gallery, Budapest (Hungary) 2009

 

Collective exhibitions (selection)

XXV. Miskolc Triennial Exhibition of Graphic Art (2011) – Gallery of Miskolc (Hungary)

1-4th National Drawing Triennial (2010-2019) – Salgótarján, Dornyay Béla Museum (Hungary)

 

 

 


 

1. Name of the Institute

 University of Nyíregyháza

2. Name of the researcher(s) and research group (if applicable)

 Fabók-Dobribán Fatime DLA

3. Research area and keywords of research

 Art psychology, philosophy, contemporary art history

4. Research objectives (in 1-2 sentences)

 The common sphere of creation and reception of art in subjective time

5. Description and results of research (in detail, max. 1500 characters)

 The personal experience of the individual in relation to time and the process of the creation with regards to the reception of that piece of art can be interpreted as a process of  positioning  it into a unique reality in states of time. In my view, from the wish to recognize our inner, personal needs and also for the complex process of getting over traumas, we need precisely this presence of a time to offer a different state from “reality”. In this therapeutic reality, the individual can come to terms with problems of a mental origin, which cannot be treated by  rational approach. By artistically reflecting through different variants and engagements with alternative reality, both the creator and the recipient can separate him or herself from the tension and anxiety of the reality. New experiences can enrich them and serve a transformative function, thereby enabling them to put their existence in a different light. This encounter with the unreal represented experience serves a significant role because people convey the semantic content of their acts and experiences through the creation of their (his)stories within this space of subjective time. To create your own reality, you need a certain understanding of the construction of your individual myth. A life stoy which is influenced by relationship to reality and temporality. In a dialogue and communication with the outside world, artistic expression has an indispensable role because  it provides new terrains where people, trauma and creation  interact with each other.

6. Research partners from other institutions (if any)

 

7. Other information (if any)

 

8. Publications (max. 5)

 The Contrafacta- The common sphere of creation and reception of art in subjective time, 2014, Budapest

 

 

 

2016, Nyiregyhaza