davidkovacs

CINEMA CITIES / multiplex-effect:

JESUS-DIARY

ASZFALT

PORTRAITS / TEST SHOOTS

budapestRAWE

info / contact

Years ago, I found myself in reduced circumstances so I was forced to start working for Cinema City as a student worker. I started to take photographs in secret – in the beginning, only before opening and after closing, but after some time I got permission. I was not interested in the paradigms appearing on the screen, but the works done in the background and the vision of these scenes as a movie. First of all, I took pictures of the space, the geometrical shapes, the resting employees or some ragged posters. In the beginning, the cinemas seemed quite huge, but from one month to another they became smaller and smaller. The foreground of the multiplexes is kind of a passageway between two worlds, as we have already left the streets, but we have not entered the auditorium yet. Instead, we find ourselves in a mystical sanctum illuminated by neon lights, where enlargements of stars gaze at us instantly. The employees of the hall are ordinary people, ushers, workers at the buffet or cleaners - they are the ones who see us through this synthetical space.

davidkovacs

CINEMA CITIES / multiplex-effect JESUS-DIARY ASZFALT PORTRAITS / TEST SHOOTS budapestRAWE info / contact
Years ago, I found myself in reduced circumstances so I was forced to start working for Cinema City as a student worker. I started to take photographs in secret – in the beginning, only before opening and after closing, but after some time I got permission. I was not interested in the paradigms appearing on the screen, but the works done in the background and the vision of these scenes as a movie. First of all, I took pictures of the space, the geometrical shapes, the resting employees or some ragged posters. In the beginning, the cinemas seemed quite huge, but from one month to another they became smaller and smaller. The foreground of the multiplexes is kind of a passageway between two worlds, as we have already left the streets, but we have not entered the auditorium yet. Instead, we find ourselves in a mystical sanctum illuminated by neon lights, where enlargements of stars gaze at us instantly. The employees of the hall are ordinary people, ushers, workers at the buffet or cleaners - they are the ones who see us through this synthetical space.

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