Gabor Szilasi (born 3 February 1928) is a Canadian artist known for the humanist vision of his social-documentary photography.[1][2]
Career
Born in Budapest, Hungary in 1928, Gabor Szilasi first became interested in photography while in medical school in 1948.[3] Largely self-taught, Gabor Szilasi started to photograph in Hungary in 1952 when he purchased his first camera, a Zorki. In 1956, he documented the Hungarian Revolution of 1956 in Budapest and shortly afterwards fled the country.[1]
He emigrated to Canada in 1957, settling in Montreal.[2][4] From 1959 to 1971, he was photographer at the Office du film du Québec. That role involved traveling to photograph subjects throughout rural Quebec.[5]Sam Tata introduced him to the work of Henri Cartier-Bresson and encouraged his social-documentary photography. In 1966, he was introduced to the work of the American documentary tradition as practiced by Paul Strand and Walker Evans while studying at the Thomas More Institute.[1] Throughout the 1960s, he shot personal photographs of friends and of Montreal; they were first exhibited in 1967.[5]
He was photography teacher at the Collège du Vieux Montreal (1970–1980) and associate professor (1980–1995) and then adjunct professor at Concordia University.[6] From 1972 to 1974, Szilasi was a member of a group of Montreal artists called the Group d’action photographique, and his documentary photographs feature numerous members of the city's art scene.[5]
The work he made of communities such as Charlevoix, PQ (1970), Montreal`s art community (1960–1980), or was commissioned to make in Italy, Hungary and Poland (1986, 1987, 1990)[6] or of Hungary to which he returned in 1980, 1994 and 1995[1] aimed at the modernist photography ideal of precision, luminosity and permanence which increased the beauty and historic value of his prints.[7] He used the camera to take views of urban environments, individual portraits or gallery openings.
After 20 years of photographing in black-and-white, around the mid-70s, Szilasi began to use colour to describe certain cultural and social characteristics.[8] He began photographing interiors, mostly living spaces, in colour and later combined colour with black-and-white to convey portraits and interiors. Around 1982, he began photographing electric signs.[8]
He is the subject of Gabor, a 2021 documentary film by Joannie Lafrenière.[9]
In 2021, Library and Archives Canada (LAC) acquired Gabor Szilasi's photographic archives containing more than 80,000 negatives and 42 photographic prints, including negatives of early photographs taken in Hungary during the uprising against the Soviet invasion, as well as photographic prints captured in rural Quebec and Montreal. It became part of the Gabor Szilasi fonds: a collection of the artist’s works that LAC has been compiling since the 1970s.[18]
