{"id":4630,"date":"2025-10-16T11:52:13","date_gmt":"2025-10-16T11:52:13","guid":{"rendered":"https:\/\/360dbp.com\/?p=4630"},"modified":"2025-10-27T10:58:11","modified_gmt":"2025-10-27T10:58:11","slug":"keressek-a-jeleket-ikonikus-elodeink-dns-et-a-targyakban-interju-erdesz-barnaval-a-360-design-budapest-kiallitas-kuratoraval","status":"publish","type":"post","link":"https:\/\/360dbp.com\/en\/360-design-budapest-2025\/keressek-a-jeleket-ikonikus-elodeink-dns-et-a-targyakban-interju-erdesz-barnaval-a-360-design-budapest-kiallitas-kuratoraval\/","title":{"rendered":"\u201cLook for the Signs, the DNA of Our Iconic Predecessors in the Objects\u201d \u2013 Interview With Barna Erd\u00e9sz, Curator of 360 Design Budapest"},"content":{"rendered":"\n

Barna Erd\u00e9sz, founder of the contemporary gallery East of Eden and co-owner of Erd\u00e9sz Gal\u00e9ria & Design, consistently strives to represent progressive, experimental contemporary design and visual arts. We spoke with him, as curator of 360DBP, about the behind-the-scenes work of the exhibition and even discovered what design object he would choose to be. <\/strong>(A shorter, edited version of this interview is available in the printed publication K\u00f6rk\u00e9p<\/em>, which introduces the exhibition to visitors.)<\/strong><\/p>\n\n\n\n

What is the role of a curator in realising a design exhibition?<\/strong><\/strong><\/p>\n\n\n\n

My father, L\u00e1szl\u00f3 Erd\u00e9sz, has been running a commercial gallery for forty years. During this time, both of us have been, and still are, art shippers, administrators, photographers, graphic designers, art managers, framers, copywriters, exhibition arrangers, interior designers, event planners and organisers, art historians, installers, and who knows what else. The curator\u2019s task is extremely complex: they must know the exhibited material and the creators intimately, understand the characteristics of the venue, be fully aware of the exhibition\u2019s objectives, the target audience, the message, the dramaturgy of the space, and the way the works are presented. If we do our job well, visitors will not only remember the exhibition but also discuss it, and what they see will spark thoughts and emotions in them. Moreover, a group exhibition of product design, industrial, or fine art can even serve as inspiration for creating a new object or finding a clever solution to an everyday problem, which, in turn, could change the lives of millions of people.<\/p>\n\n\n\n

At the same time, it is important to remember that the success of an exhibition is always the result of teamwork. After all, the curator is also the one who tests the patience of the installers with fine-tuning adjustments of the \u201cmove it two centimetres to the right\u2026 no, rather one centimetre to the left\u201d type during the installation process. <\/p>\n\n\n\n

Is this process different from that of a fine art exhibition?<\/strong><\/strong><\/p>\n\n\n\n

Regarding the differences between visual art and design: contemporary visual art today often revolves around objects \u2013 works that occupy space and can be walked around \u2013 not just paintings. While with a non-figurative artwork, the viewer often relies on their own interpretation, associations, or guidance from the curator\u2019s text, a functional object, such as a chair, seems immediately clear: it is what it is. Yet, upon closer examination, deeper layers of object culture gradually unfold: iconic precedents, the designer\u2019s intention behind the form, or even the creator\u2019s national identity, all of which can open up new horizons of interpretation.<\/p>\n\n\n\n

What guided you in shaping the exhibition concept, and what message do you want to convey with this year\u2019s show?<\/strong><\/p>\n\n\n\n

The motto of this year\u2019s exhibition is: \u201cDesign Aligns \u2013 Creating Together, Living Connected\u201d, which holds particular significance from the perspective of object creation. Beyond showcasing the present of contemporary Hungarian design and offering a glimpse of its future, the main goal is to connect generations, eras, and stories. Through this, we aim to show that by learning from our predecessors, we shape the future together, the direction of which we ultimately determine ourselves.<\/p>\n\n\n\n

How can visitors discover these connections across generations and styles?<\/strong><\/strong><\/p>\n\n\n\n

Dare to get closer to the exhibited objects. With those that you approach more critically, try to engage with them more intimately. Observe them from multiple angles, try to understand why, for example, the designer considered the curve of the armrest to be ergonomic, or why the ceramicist chose that particular glaze. Try setting aside your phone for 40 to 60 minutes, leave the outside world behind, slow down, and immerse yourself in the world of the exhibited objects. Once you have examined each piece individually, step back and try to see the connections systemically. Look for the signs, traces of our national identity, and the \u201cDNA\u201d of our iconic predecessors in the objects.<\/p>\n\n\n\n

How should visitors move through the exhibition, and what should they focus on?<\/strong><\/strong><\/p>\n\n\n\n

The visitor route will naturally take shape. I do not want to force anyone to follow a particular pace or direction through the exhibition. The building itself also deserves attention, as it carries an exciting history. Architects, archaeologists, scientific researchers, restorers, official inspectors, photographers, librarians and archivists, mechanical engineers, electrical planners, structural engineers, gardeners, and contractors once all worked here under the same roof. Upon entering through the sculpted gate, passing the bronze and glass doors, visitors are greeted on the ground floor by Endre Domanovszky\u2019s grand mosaic from 1971, while on the wall of the main staircase hangs M\u00e1ria Th\u00fary\u2019s tapestry from 1973. Beyond the exterior of the building, it is worth taking time to appreciate the surrounding installations, which celebrate the work of renowned contemporary architects and serve as fitting companions both to the selection of objects and to the spirit of 360 Design Budapest.<\/p>\n\n\n\n

Did the spirit of the exhibition inspire you to apply, or did you approach it from a broader perspective?<\/strong><\/strong><\/p>\n\n\n\n

By profession, I am an industrial designer. From the early stages of my life, I have been immersed in the world of visual and object culture, particularly fine art. Previously, I had the opportunity to prove myself as curator of the Hungarian presence at Milan Design Week, and after the positive feedback, it was obvious to me that it was worth continuing this collective, constructive work. I see the challenges faced by the domestic product design scene, but also the opportunities, which my friend and colleague G\u00e1sp\u00e1r Bonta had tirelessly explored over five years as curator of previous exhibitions. As Jonas Salk said, \u201cThe reward for work well done is the opportunity to do more.\u201d<\/p>\n\n\n\n

How do you see the current state of the domestic design scene? Which trends do you find promising?<\/strong><\/strong><\/p>\n\n\n\n

My contemporary gallery, East of Eden, was the first in Hungary to organise so-called \u201ccollectible design\u201d or \u201cfunctional art\u201d exhibitions, and I still represent this genre as the only Hungarian contemporary gallery at domestic art fairs, such as Budapest Contemporary and the Art Market. These objects combine an artistic attitude with functionality and are produced in extremely limited editions. I organised, for example, Boldizs\u00e1r Senteski\u2019s first solo exhibition. He is a creator recognised in this field in Denmark, Copenhagen, Paris, London, and New York. I also curated an exhibition of works by the pair behind Architecture Uncomfortable Workshop, who are often regarded as the \u201caristocratic punks\u201d of the Hungarian architectural scene. I love the works of Orsolya Horv\u00e1th as well, who mastered the characteristics of this genre with the Antwerp-based ToucheToucheThat collective; their objects are included in the world\u2019s largest design collections. I am passionately devoted to objects, and I want to share this approach with domestic collectors.<\/p>\n\n\n\n

At the same time, for Hungarian design to remain competitive, it needs industry and production capacity. There are some companies specialised in certain materials and technologies that are working at increasingly high standards. I collaborate with a manufacturer, for example, to produce prototypes together: custom orders, architectural award projects, or even for film productions. However, this cannot be compared with the opportunities available in Italy or the Scandinavian countries, traditionally considered strongholds of design. It is not enough to design an object; you must also be able to produce it. When a client is ready to order, there may be a need to deliver 1,000, 10,000, or even 100,000 units at a competitive price. Currently, the domestic design industry can only operate within certain limits. It is also important for creators to be better prepared to play a conscious role in professional sales and self-representation alongside their design work.<\/p>\n\n\n\n

How does the exhibition contribute to strengthening the profession?<\/strong><\/strong><\/p>\n\n\n\n

360 Design Budapest is a major event that significantly promotes the recognition of Hungarian and Central European designers, while also supporting brands\u2019 sales opportunities and market expansion. For a Hungarian design product to begin its journey internationally, it must be manufactured. If a country creates a profitable product and possesses the necessary expertise and innovation background, it must also be able to realise it domestically. This is why the Hungarian Fashion & Design Agency organises a dedicated event during the series to facilitate meetings between manufacturers and designers.<\/p>\n\n\n\n

How has being the curator of 360DBP this year affected your professional work?<\/strong><\/strong><\/p>\n\n\n\n

It inspired me to expand the vision of my gallery. \u201cCollectible design\u201d is still almost unknown in Hungary, but this is the path I want to continue along. A gallerist colleague often told me, \u201cBarna, you have to open a gallery; this is your destiny.\u201d I have lived in the Middle East, where there is a saying: maktub, an Arabic term meaning \u201cit has been written.\u201d  For me, this is the path: the world of visual art and design. I hope that this passion is also felt by visitors as they walk through the exhibition.  <\/strong><\/p>\n\n\n\n

Do you remember a design object\u2014either Hungarian or international\u2014that first spoke to you or even set you on your professional path?<\/strong><\/strong><\/p>\n\n\n\n

I can think of several. In Szentendre, someone once brought an old, battered saxophone into my father\u2019s gallery. When I saw it, I was immediately captivated by its choice of materials, its form, but above all by the story that gave it such a unique patina. Of course, I immediately wanted to enrol in music school at the age of six. In the end, I never learned to play the saxophone \u2013 perhaps I will, after the exhibition.<\/p>\n\n\n\n

Later, as an adult, I ran a gallery for a year in New York State. One morning, I decided to run to the ocean, which was eight miles from the house where I was staying. I set off through thick, milky-white fog, but as the sun rose, the fog cleared, and I found myself next to a wide, grassy field. There stood a large house, and in front of it was a sculpture by Richard Serra, the artist I greatly respect, who passed away in 2024.  It was one of those monumental works, tens of metres in length, that I had only ever seen in books. That day, I was standing twenty metres from it, and anyone could walk right up to it.<\/p>\n\n\n\n

In 2021\u20132022, I saw the Isamu Noguchi exhibition at the Barbican Centre in London, which has stayed with me ever since. The Japanese-American artist and furniture designer\u2019s basic premise is simple yet liberating: essentially, anything can be a sculpture.<\/p>\n\n\n\n

Finally, I want to mention L\u00e1szl\u00f3 Moholy-Nagy\u2019s EM 1, EM 2, and EM 3 (1923) at MoMA in New York. These are essentially the world\u2019s first artworks created digitally. Moholy gave instructions to the enameller by telephone, which is why the series is called \u201cTelephone Picture.\u201d<\/p>\n\n\n\n

If you could be a design object yourself, what would you choose and why? <\/strong><\/strong><\/p>\n\n\n\n

That\u2019s a good question. I would be an object that is passed down from generation to generation and used every day. An object envisioned by a designer, carefully assembled with love, and, if it breaks, repaired rather than thrown away. I think I would be a beautiful analogue antique watch on my son Marcell\u2019s wrist, or a ring on my wife Zs\u00f3fi\u2019s finger.<\/p>\n\n\n\n

Barna Erd\u00e9sz<\/strong> is the founder of the contemporary gallery East of Eden and co-owner of Erd\u00e9sz Gal\u00e9ria & Design. Over the course of his professional career, he has been involved in organising more than one hundred domestic and international art fairs and exhibitions. He built his expertise at the Budapest University of Technology and Economics (BME), where he studied Industrial Design and Product Design. Later, as a project manager and design team leader, he contributed to the realisation of numerous international events, including in Dubai, Shanghai, and Hannover.<\/p>\n","protected":false},"excerpt":{"rendered":"

Barna Erd\u00e9sz, founder of the contemporary gallery East of Eden and co-owner of Erd\u00e9sz Gal\u00e9ria & Design, consistently strives to represent progressive, experimental contemporary design and visual arts. We spoke with him, as curator of 360DBP, about the behind-the-scenes work of the exhibition and even discovered what design object he would choose to be. (A […]<\/p>\n","protected":false},"author":2,"featured_media":4631,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31],"tags":[],"class_list":["post-4630","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-360-design-budapest-2025"],"acf":[],"_links":{"self":[{"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/posts\/4630","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/comments?post=4630"}],"version-history":[{"count":2,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/posts\/4630\/revisions"}],"predecessor-version":[{"id":4667,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/posts\/4630\/revisions\/4667"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/media\/4631"}],"wp:attachment":[{"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/media?parent=4630"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/categories?post=4630"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/360dbp.com\/en\/wp-json\/wp\/v2\/tags?post=4630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}