The Good Shepherd. On Endre Bálint’s late photomontages

In this paper I analyse the photomontages of Endre Bálint (1914–1986) in the context of the cultural politics of the Iron Curtain period in Eastern Europe and Hungary. First, the study takes a diachronic, historical approach to photomontage as a creative method that maintained continuity between the avant-garde generations of artists, a way of thinking and a creative process accordingly, cultivated in the circles of persecuted, banned or silenced artists experimenting during the decades from the 1920s to 1970s. Second, by placing Endre Bálint’s late photomontages (made after his 1963 return from his “exodus” to Paris) in the context of contemporary artistic phenomena (e.g. Brecht’s photobook, Jean-Luc Godard’s work, David Hockney’s montages or bricoleur punk artists), I argue that, in contrast to the generally held view, they are not the withering signs of renunciation, but rather a way out of renunciation, that is, a solution. “We breathe in fragments,” Bálint wrote, and the pictorial form to fittingly reflect a fragmented way of existence (together with the psychological burdens, shadows of the past, and the social and cultural-political determinations) was the montage-technique that had flourished from the 1920s, and whose Eastern European, distinctively Hungarian variant found its guardian, its good shepherd in Bálint, in his creative practice. Bálint’s late photomontages also deserve attention from the point of view of a silent narrative of art history, which does not focus on middle-aged artists’ major works, but on the profuse production by the old masters, the masters of sprezzatura, which is characterised by an aesthetic lightness, a kind of aesthetic liberation and swiftness, and the ability to allow memories a free influx into the creative work. One of the conclusions of this study is that Hungarian photomontage, and especially the late work of Endre Bálint, can be instructively read in conjunction with the equally restrained psychoanalytic literature of the period, in which the splitting of Self as a traumatic consequence of shocking events and also a means to survive those events is a key concept. A critically productive artistic construction that is based on fragments can be seen and read as the visual counterpart of a psychological notion of Self-splitting.