Start Gallery Budapest presents Marko Rodics: Portraits of Politicians ...
Marko Rodics’ Exhibition "Politikus portrék" at Start Galéria, Budapest: A Subversive Take on Hungarian Political Icons
Budapest’s Start Galéria has become the stage for a bold and thought-provoking exhibition by artist Marko Rodics titled Politikus portrék ("Portraits of Politicians"). Running from November 7 through November 23, this series of artworks invites viewers into a reflection on Hungary’s complex political history, with a special emphasis on the figure of János Kádár, a defining figure in 20th-century Hungarian politics. By blending irony with a contemporary lens, Rodics’ portraits have sparked a unique dialogue about past and present, provoking comparisons between Kádár and Viktor Orbán—a parallel that resonates deeply with Hungarians today.
The Central Figure: János Kádár
Almost all of Rodics’ works in this exhibition feature Kádár, who was the General Secretary of the Hungarian Socialist Workers' Party from 1956 to 1988. Known for his "goulash communism," Kádár’s reign was marked by an attempt to balance Soviet influence with economic liberalization, which made life relatively bearable for Hungarians under socialism. He is remembered as a complex, often contradictory figure who represented a softer side of Eastern Bloc authoritarianism, yet his era also suppressed dissent and maintained the rigid structure of a one-party state.
In the current climate, Kádár’s legacy has taken on new significance. Viktor Orbán, Hungary's Prime Minister since 2010, is often described as Kádár’s political successor—a notion Rodics cleverly critiques in Politikus portrék. The phrase “Orbán a Kádár János” (Orbán is Kádár János) has gained traction in Hungarian political discourse, suggesting that Orbán’s consolidation of power mirrors Kádár’s authoritarian style, albeit in a nationalist-conservative guise.
Artistic Technique and Symbolism
Rodics approaches Kádár’s image with an ironic twist, contrasting the somber portraiture style traditionally associated with political leaders with unexpected, almost whimsical elements. One piece from the exhibition, featured on the exhibition’s promotional poster, shows a black-and-white photograph of Kádár embellished with red tassels hanging over his eyes, symbolizing a playful, albeit unsettling, blinding. This artistic choice could suggest that Kádár (and by extension, the Hungarian political tradition he symbolizes) is both revered and willfully "blind" to the consequences of his policies—a possible metaphor for the political myopia that Rodics sees repeating today.
The red tassels might also invoke communist iconography while mocking it. Red was the color of the communist era, but here, rather than evoking reverence or fear, it evokes curiosity and humor. Rodics seems to be pointing to the way Hungarians today reinterpret, and sometimes trivialize, the symbols of their past—seeing them as neither wholly positive nor negative but as tools for reflection.
From Kádár to Orbán: A Political Reflection
Hungary’s current leader, Viktor Orbán, has centralized power to an extent not seen since Kádár’s era, dominating the media, judicial system, and public institutions. His critics argue that his rule mirrors the authoritarian stability Kádár once offered, albeit in the service of a right-wing, nationalist agenda. The notion that “Orbán is Kádár János” taps into the public’s sense that history is cyclical, that the suppression of dissent and the emphasis on stability at the cost of individual freedoms are themes Hungary has never fully escaped.
Through Rodics’ work, this historical parallel is visualized and brought into a contemporary, sometimes humorous, light. Rather than idolizing Kádár or demonizing Orbán, Rodics holds both figures up as symbols of a broader, often problematic trend in Hungarian governance: the preference for strong, paternalistic leadership that protects “national interests” but stifles political diversity. This narrative resonates especially with younger generations, who see in Orbán’s Hungary a modern version of the “soft dictatorship” under Kádár.
Audience Reception and Impact
Rodics’ Politikus portrék has been met with a mix of amusement, nostalgia, and reflection. For some, it serves as a reminder of the ideological fluidity of Hungary’s political landscape, where former communists became nationalists, and historical revisionism is used to support new political agendas. For others, the exhibition provokes a more personal response, as it challenges them to think critically about the legacy of Kádár and how it has shaped, or failed to shape, the Hungary of today.
Ultimately, Rodics’ work in Politikus portrék serves as both a critique and a celebration of Hungary’s political iconography. By juxtaposing humor with critique, reverence with irony, Rodics forces viewers to engage with Hungary’s political past and present in a way that is both accessible and profound. In doing so, he has created not only a portrait gallery but a mirror, reflecting Hungary’s ongoing struggle to define its identity amid the unresolved contradictions of its history.
