{"id":6730,"date":"2026-05-26T11:39:23","date_gmt":"2026-05-26T11:39:23","guid":{"rendered":"https:\/\/nagydij.capacenter.hu\/?page_id=6730"},"modified":"2026-05-27T12:30:09","modified_gmt":"2026-05-27T12:30:09","slug":"capa-grand-prize-2026-candidates","status":"publish","type":"page","link":"https:\/\/nagydij.capacenter.hu\/en\/","title":{"rendered":"CAPA GRAND PRIZE HUNGARY 2026 CANDIDATES"},"content":{"rendered":"\t\t
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CAPA GRAND PRIZE HUNGARY 2026 CANDIDATES<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We are delighted to announce that the jury has selected the five shortlisted nominees for the Capa Grand Prize Hungary 2026. This year\u2019s candidates are the Depth of Field Narrative Group \u2013 DNG (Zsolt Bal\u00e1zs and G\u00e1bor Si\u00f3r\u00e9ti), No\u00e9mi Napsug\u00e1r Melegh, Zs\u00f3fia P\u00e1lyi, Zs\u00f3fia Siv\u00e1k, and Viktor V\u00e1radi. In recognition of their outstanding work, each shortlisted artist and collective will receive a grant of HUF 500,000.<\/div>\n
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In the second round of the awarding process, scheduled for October 2026, the finalists will introduce their work before the jury in a public presentation held in English. The grand prize winner will be announced following this final review. In addition to the prestigious title, the laureate will receive a grand prize of HUF 2.5 million, along with an additional \u20ac2,000 to support their international exhibition, which will take place at the Krinzinger Schottenfeld Gallery in Vienna in 2027.<\/div>\n
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The commendations were written by members of the international jury on behalf of the panel.<\/em><\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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CAPA GRAND PRIZE HUNGARY 2026 CANDIDATES<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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REMEMBER ME? EVERYDAY LIFE OF AN UNRESOLVED CRISIS AT THE SOUTHERN BORDER <\/h3><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Depth of Field Narrative Group \u2013 DNG (Zsolt Bal\u00e1zs and G\u00e1bor Si\u00f3r\u00e9ti)<\/h3>

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Zsolt Bal\u00e1zs:<\/span><\/p>\n

As an independent artist photographer his most important angle is that of humanity and objectivity, which he raises above all political and economical interests.<\/p>\n

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<\/span>His work is most characterized by the styles of autonomous photoreport and documentarism.<\/span>
<\/span>The completed projects are featured in publications, exhibitions and photo albums.<\/p>\n

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<\/span>His series Southern Ends (2018\u2013) portrays the situation of ethnic Hungarians in Vojvodina and refugees on the Serbian side of Hungary\u2019s southern border fence.<\/span>
<\/span>He received grants from the Hungarian National Cultural Fund four times: twice in 2019 and 2020 for the series The Leftovers of Eden (2019), examining the lasting effects of the historical Greek\u2013Turkish ethnic conflict in Cyprus, and again in 2023 and 2025 for documenting life on the Great Hungarian Plain. <\/span>
<\/span>After that he returned to an important location of his childhood - the banks of a creek - and through examining its environment (R\u00e1kos-patak), he reflected on the questions related to our contemporary existential insecurities, such as beliefs, habitat, home, well-being. The title of the series is \u2018Creekside Country\u2019.<\/p>\n

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<\/span>From 2021 to 2026, he documented life on the Great Hungarian Plain, creating narrative series about the relationship between people and water. The five-year body of work was published in March 2026 as the photobook What Remains in the End by hECTIC bOOKs. <\/span>
<\/span>After several years away, he returned to the Serbian\u2013Hungarian border with his colleague G\u00e1bor Si\u00f3r\u00e9ti to document life along the border in a long-term series, drawing attention to the unresolved state of the refugee crisis\u2014a quiet conflict in which all participants have become unwillingly involved.<\/span>
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<\/span>He completed the Nikon-NOOR Masterclass in 2018, and received his master diploma in creative photography at Szellemk\u00e9p Szabadiskola. <\/span>
<\/span>Member of the Association of Hungarian Photographers since 2019 and Member of the Association of Hungarian Journalists (independent) since 2022.<\/span>
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<\/span>04.22.2026., Budapest<\/span>
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<\/span>Highlighted results<\/span>
<\/span>2018 \/ Nikon-Noor Academy Masterclass, Exam work: \u201cDemonstration picnic\u201d series (Mentor: Sebastian Liste)<\/span>
<\/span>2019 \/ Budapest Photo Festival group exhibition- \u201cPerspectives\u201d. \/ Helsinki Photo Festival - finalist \/ <\/span>
<\/span>National Cultural Foundation: The Leftovers of Eden (Cyprus) - 1st year scholarship \/ National Cultural Foundation: The Leftovers of Eden (Cyprus) - 2nd year scholarship<\/span>
<\/span>2020 \/ Human Right Pulse Publication: Southern Ends \/ Modem: Modern and Contemporary Arts Centre - Deep Flows - group exhibition<\/span>
<\/span>2021 \/ Picture of lights - National PhotoSalon, M\u0171csarnok \/ Kunsthalle<\/span>
<\/span>2022 \/ Selected to the Rotterdam Photo Festival 2022 - The Human blueprint - Creekside Country, individual exhibition \/ 11th Slovak Press Photo Nominee, Finalist <\/span>
<\/span>2022-2023 \/ NOOR - Slovak Press Photo - Visualising the Climate Crisis Workshop and group exhibition, Bratislava \/ 41st Hungarian Press Photo 1st place in Science and Nature category \/ WWF Hungary - Grand Prize \/ FotoKozma 2023 group exhibition \/ Planet Expo 2023 exhibition \/ Agroecology Europe Forum 2023 exhibition \/ Slovak Press Photo 1st place Environment and science \/ National Cultural Foundation 3rd year scholarship <\/span>
<\/span>2024 \/ 42. 2024 \/ 42 Hungarian Press Photo, Budapest 150, 3rd place \/ No Borders Award group exhibition \/ Capa Center - Breaking the wave - group exhibition <\/span>
<\/span>2025 \/ 43. 2025 \/ 43 Hungarian Press photo, Science and nature series category, awarded, Slovak Press Photo awarded International long term documentary category <\/span>
<\/span>2026 \/ What Remains in the End \/ photobook, L'Oeil de la Photographie recommendation<\/span><\/p>\n<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\t

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Our long-term photographic project follows the lives of people living in the immediate vicinity of Hungary\u2019s southern border region. The focus of our investigation equally includes local residents, law enforcement officers serving in the area, and refugees. All of them have become unwilling participants in a prolonged and, for the time being, unresolved crisis that has taken shape in the region. Its locations are the surrounding forests, farmsteads, both sides of the fence, and the in-between spaces as well. This is a space where waiting for a solution, the pressure to survive, the fulfillment of duty, and the exhaustion that comes with it all collapse into one another. In this way, the physical border fence becomes not only a geographical divide, but also a psychological fault line inflicting trauma on everyone trying to make a life in this region. <\/span>
<\/span>In recent years, due to conflicts in the Middle East and the effects of climate change, large numbers of refugees have set out from the region toward Europe, leaving behind their families, homes, and former lives while undertaking the dangers of a nearly 6,000-kilometer journey across land and sea. Some arrive directly from conflict zones, while migration driven by economic hardship has also grown significantly. The southern border fence built along the Hungarian\u2013Serbian border in 2015 was constructed as a political response to the European refugee crisis. Refugees arriving here accumulate at the edge of the Schengen Area and, in the absence of asylum procedures, settle temporarily in borderland. In earlier years they moved openly through nearby settlements; in recent years, however, they have increasingly hidden while waiting for an opportunity to cross the border. Yet these lands are already occupied. For the ethnic Hungarian farming communities of Vojvodina, they represent livelihood and home. Rival smuggling groups declare certain occupied territories their own, labeling them \u201cAfghan\u201d or \u201cPakistani,\u201d and in some cases defending them with weapons. Over the past decade, illegal activities connected to human smuggling have evolved alongside migration itself and have by now become part of the region\u2019s everyday routine.This section of the Hungarian border has become a transit zone defined by repetition. Apprehensions, pushbacks, and repeated crossing attempts occur daily. Highly organized crossing attempts frequently take place simultaneously at multiple points, often supported by diversion tactics designed to distract the authorities. One such tactic involves firing steel ball bearings at police officers with slingshots. Refugees and smugglers caught crossing the fence one day are often returned the next, only to attempt the journey again shortly after, emerging once more from what border guards call the \u201cSerbian depth\u201d toward the \u201cHungarian depth.\u201d For the law enforcement agencies protecting the border and nearby settlements, the work has become a nerve-racking and seemingly endless struggle. A smuggler cutting a \u201cstargate\u201d into the fence\u2014a slang term for an opening through which refugees disappear almost instantly\u2014smiles at the responding riot police officer arriving in the buffer zone and asks: \u201cRemember me?\u201d <\/span>
<\/span>Fear and uncertainty are palpable on both sides of the border. Burned-out smuggler cars abandoned by the roadside and recurring gunfire are alien experiences for local residents, who increasingly feel that the conflicts of the Middle East have moved to the edge of their homes. The environment surrounding the fence has become a stage for the tragedy of the situation. That tragedy emerges from the radically different positions, roles, cultural backgrounds, and social realities of those forced to coexist in the same space. The tensions generated by local and global political struggles ultimately manifest themselves in the lives of people who, at this very moment, are all simply trying to survive, move forward, and build a future. As so often happens in conflicts like these, individuals eventually become faceless numbers\u2014statistics that will one day be forgotten.Through our ongoing work, we seek to investigate and document this complex situation by deeply engaging with it through the tools of documentary photography. At the same time, we hope to create a form of remembrance for those who became participants in this conflict through no fault of their own, so that their lives are not forgotten, and so that we, too, may continue to remember them. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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This long-term documentary project holds extraordinary social significance, as it does not merely report on the situation at the southern border of Hungary, but uncovers the multi-layered humanitarian and law enforcement crisis that has unfolded there with deep empathy and impartiality. The strength of the series lies in its refusal to take sides: it presents the refugees’ struggle for survival, the existential fears of the local population, and the grueling, quixotic battle of law enforcement agencies alike as equal, involuntary protagonists in the drama. The authors successfully transform the physical border fence into a symbolic fault line causing deep psychological trauma, highlighting how high-stakes political games resonate in everyday human destinies. <\/em><\/div>\n
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REMAINS OF US<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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No\u00e9mi Napsug\u00e1r Melegh<\/span><\/h3>

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No\u00e9mi Napsug\u00e1r Melegh (b. 1990) is a Hungarian photojournalist and documentary photographer, currently a staff photographer at Telex.hu, one of Hungary\u2019s leading independent news outlets. After studying and working in health economics, she turned to photography to focus on personal, long-form stories about marginalized communities. In recent years, she has also explored deeply personal themes, including grief and loss, placing intimate experience within a broader social context. <\/span>
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<\/span>2026-ban els\u0151 d\u00edjat nyert a Pictures of the Year International (POYi) Daily Life (Picture Story) kateg\u00f3ri\u00e1j\u00e1ban Remains of Us c\u00edm\u0171 sorozat\u00e1val, amely a testv\u00e9re elveszt\u00e9s\u00e9t k\u00f6vet\u0151 gy\u00e1szfolyamatot mutatja be. Ugyanez a munka a Magyar Sajt\u00f3fot\u00f3 P\u00e1ly\u00e1zaton Andr\u00e9 Kert\u00e9sz-nagyd\u00edjat, valamint els\u0151 d\u00edjat nyert a Mindennapi \u00c9let kateg\u00f3ri\u00e1ban. Az \u00cdgy l\u00e1thatsz meg engemet c. sorozata 2026-ban finalista lett a Siena International Photo Awards-on. <\/span>
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<\/span>Her work has received national and international recognition. In 2026, she was awarded First Prize in the Daily Life (Picture Story) category at the Pictures of the Year International (POYi) for her project Remains of Us, which examines the grief process following the loss of her younger brother. The same project received the Andr\u00e9 Kert\u00e9sz Grand Prize and First Prize in the Daily Life category at the Hungarian Press Photo Awards. Her series See Me for Who I Am was a finalist at the 2026 Siena International Photo Awards.
Over the past years, her work has been recognized with over fifteen awards at the Hungarian Press Photo Awards. Among others, she received the Escher K\u00e1roly Award for Best News Photograph and the M\u00f3ricz\u2013Sabj\u00e1n Simon Special Prize for Best Long-Term Project, in addition to multiple prizes across different categories.
In 2023, she was awarded the Hemz\u0151 K\u00e1roly Prize, given to the most outstanding Hungarian documentary photographer under the age of 35. In 2024, she was selected as one of the emerging photographers of the year by the FUTURES Photography Platform, nominated by the Capa Center. <\/span>
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<\/span>Before turning to photography, she worked in the field of economics as a health economics consultant, then director for Deloitte and GSK Vaccines. She holds an MSc in Economics and Development Economics from the University of Nottingham and a BA in Applied Economics from Corvinus University of Budapest. <\/span>
<\/span>She completed the photojournalism training at the Academy of the National Association of Hungarian Journalists in 2017. Since then, she has participated in several international programs, including the Eddie Adams Workshop, VII Academy Documentary and Narrative practise, a Magnum Workshop organized by the Robert Capa Contemporary Photography Center, and the Canon Student Development Programme. In 2026, she was nominated for the Joop Swart Masterclass of World Press Photo.
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<\/span>Her work has been exhibited in solo exhibitions at the Capa Center and Telep Gallery in Budapest, as well as in various group exhibitions. Since 2025, she has been a member of Pictorial Collective. <\/span><\/p>\n<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\t

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In the spring of 2024, I lost my eighteen-year-old brother, B\u00e1lint, in an accident. His death not only broke our family apart, but also deeply affected an entire community of young people – his classmates and friends – who were standing at the threshold of adulthood, a stage of life that should be defined by the promise of the future rather than the experience of loss. This project grew out of this seemingly incomprehensible tragedy. <\/span>
<\/span>Our last conversation with my brother was about documenting his final year of high school. Three days later, the accident happened. <\/span>
<\/span>Remains of Us is a personal project that explores the complex experience of grief and trauma, tracing how it unfolds within both a family and a community. The loss of a loved one changes us profoundly, especially when it happens suddenly and far too early. <\/span>
<\/span>The project approaches loss as an ongoing state: a process of internal and external transformation that reshapes the body, memory, family roles, and our sense of the future. Its central question is how this experience becomes visible – how the presence of someone no longer with us persists through gestures, objects, and everyday rituals. How does trauma become part of our identity, and how do we change over time? <\/span>
<\/span>After his death, I began photographing my family and my brother\u2019s close community, particularly his classmates and friends, who encountered loss for the first time during their final year of high school. His friends developed their own rituals, carrying his memory forward through objects, gestures, and shared acts, while trying to preserve the dreams and plans he could no longer fulfill. I went to the same high school, so following his final year also meant both returning to my own memories and facing the fact that he is no longer there. <\/span>
<\/span>At the core of the project is the long-term observation of my family and my brother\u2019s close community: how our lives change over time, and how our relationship to loss evolves. The aim of the work is to make this process visible. <\/span>
<\/span>In the long term, the project will expand to include the experiences of other people dealing with loss, exploring both the emotional and physical dimensions of grief. I am particularly interested in transgenerational patterns, which are also present in my own family history: my paternal grandmother lost three young children before my father was born. <\/span>
<\/span>It is often said that tragedy makes us stronger. I believe trauma does not, in itself, make us stronger: it breaks us apart and reshapes us. What follows takes time, and depends on the work we put into it.My brother\u2019s absence shapes my life just as much as his presence once did. This, too, is a kind of relationship. Often, it is the actions born from absence that most strongly define who we become. <\/span>
<\/span>Remains of Us is not about death, but about what follows – about the transformations that occur, and how the presence of those who are no longer with us continues to shape our lives.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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No\u00e9mi Napsug\u00e1r Melegh\u2019s series Remains of Us processes a deeply personal and difficult story, in which the artist copes with grief and the heavy burden of losing her brother. Turning to her camera in this most challenging of life situations, the photographer captures her family and her brother’s friends with her characteristic profound sensitivity and empathy. This poignantly honest and highly professional project rightfully places No\u00e9mi among this year’s five most outstanding shortlisted artists. <\/em><\/div>\n
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\u00c9va Szombat<\/em><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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PENITENTS<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Zs\u00f3fia P\u00e1lyi<\/span><\/h3>

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Zs\u00f3fia P\u00e1lyi is a photographer and multimedia journalist, born in 1982 and based in Budapest, Hungary. She received her bachelor\u2019s degree in photography from the Moholy-Nagy University of Art and Design Budapest in 2010. She received her Master's Degrees at the Department of Media and Communication and Department of Portuguese Language at ELTE University in 2007. She spent one year as an Erasmus student at the Faculty of Fine Arts of Universidade de Lisboa, and at the history department of Universidade Nova de Lisboa. She has taken part in the Magnum Workshop with Ian Berry photographer, organized by Robert Capa Contemporary Photography Center, in Budapest. <\/span>
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<\/span>Between 2005 and 2014, she has been working as a photojournalist for Origo, one of the leading online news sites in Hungary. In the last years she became a freelance photographer, she works mainly for magazines; and besides focuses on her personal projects. She likes personal photo reports, portrait and documentary photography and art itself. <\/span>
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<\/span>She was a Grand Prize winner at Fot\u00f3porta international portfolio review in 2013. She has received several prizes at the Hungarian Press Photo Competition including the Grant for best achievement in photojournalism under the age of 30 and won the P\u00e9csi J\u00f3zsef Fine Art Photography Grant, Hungarian state scholarship, three times. <\/span>
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<\/span>Her series Balaton, the Hungarian Sea has been nominated Coeup de Coeur ANI 2014 at Perpignan Photo Festival. In the same year, she was also invited to participate in the Danube Revisited project with all the former Inge Morath Award winners. In 2015 she became a finalist at LensCulture Portrait Awards with her Balaton series. This work has been exhibited in numerous venues, for example in Kunsthalle Budapest, at the Istanbul Photo Biennial, at the Hungarian Institute in Istanbul, in the Hungarian Pavilion of the Milano Expo and at the Artplacc festival in Tihany. In 2017, she won the K\u00e1roly Hemz\u0151 Award. <\/span>
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<\/span>In 2018, she won a 3-year-long art scholarship of the Hungarian Academy of Arts to create her series about pilgrims called Penitents. The project got shortlisted at Helsinki Photo Awards in 2022, also became shortlisted at Kolga Tbilisi Photo Awards in 2022 and Athens Photo Festival in 2023. She later expanded her series by visiting Doroszl\u00f3, Serbia, as part of the Pictorial Collective's People of Pet\u0151fi Streets project so it also appeared in a photo album. <\/span>
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<\/span>Her photos have been purchased internationally, by the American National Geographic, Marie Claire, New York Times, CNN Photo Blog, Vice UK, Al Jazeera, Chinese Blog Magazine, The Sunday Guardian, Le Monde, UNHCR, N\u0151k Lapja, Origo, M\u00dcPA Budapest, the National Opera House and Hungarian National Ballet in Budapest. <\/span>
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<\/span>She was a member of the Studio of Young Photographers Hungary, and also has been a member of its Leadership Committee between 2013 and 2015. She has been a member of the board of trustees of the Photojournalist Lifetime Achievement Award since 2024, 2026. and the member of the Hungarian Association of Photographers since 2026. <\/span>
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<\/span>www.zsofiapalyi.com<\/span>
<\/span>www.facebook.com\/zsofiapalyiphotographer<\/span>
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Pilgrims within the Borders of the Carpathian Basin<\/span>
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<\/span>Pilgrimage is a retreat from everyday life, from our home environment, where everything reminds us of our chores and jobs. It is one of the most ancient forms of penance and devotion in the Catholic faith. Once a purely religious tradition, it has now become a colorful bustle, a fair and a fun-filled experience where the sacred mixes with the profane. This series of photographs captures this often contradictory, vanishing, traditional, yet constantly renewing scene in the Carpathian Basin, in Eastern Europe. <\/span>
<\/span>The documentary snapshots, portraits and object installations create a colorful image of the pilgrimage sites, frequently visited by Hungarians from inside and outside the borders of Hungary, in Eastern Europe. These festive rituals are indispensable to carry on the identity, beliefs, rich cultural heritage, customs and clothes of these people. <\/span>
<\/span>Religious kitsch is also one of the most widespread forms of kitsch, as can be seen in the world of fairing. It brings the believer closer to God. Religious sentiment is often expressed in objects with a profane purpose, such as a plastic bottle depicting the Virgin Mary, but we also find products that, in contrast to the traditional ideal of craftsmanship, obey the command of mass production via their simplicity and shallowness. <\/span>
<\/span>The photographs were made in several places throughout the Carpathian Basin. Andocs, Balassagyarmat, Csatka, Cs\u00edksomly\u00f3, Doroszl\u00f3, Gy\u00f6ngy\u00f6s, Vecs\u00e9s or M\u00e1travereb\u00e9ly-Szentk\u00fat – each of them are just couple stations of this series, which has been expanding for the last eight years now.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Religion is best approached with a mix of empathy and absurdity. Catholicism in particular probably also requires a sense of the surreal. Faith, the compulsion to believe without evidence, is by its nature unphotographable. The camera has access only to the earthly stuff, the base material, the visual effects. Zs\u00f3fia P\u00e1lyi seems to understand all this, or at least intuit it. In her photographs of pilgrimage it is all here: the empathy, the absurdity, the gentle surrealism, and, most importantly an acceptance that what really matters cannot be seen. <\/em><\/div>\n
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NO CREDIT<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Zs\u00f3fia Siv\u00e1k<\/span><\/h3>

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\u201eZs\u00f3fia Siv\u00e1k (b. 1993, Eger) is a photographer and art teacher based in Hungary. She graduated in Photography from the Moholy-Nagy University of Art and Design (BA 2017, MA 2019, 2025) and currently works as a freelance photographer and lecturer at MOME. <\/span>
<\/span>
<\/span>Her practice is rooted in documentary photography, with long-term, community-based projects. Many of her series explore rural life, shaped by her own background. <\/span>
<\/span>
<\/span>Having grown up in a small village in eastern Hungary before moving to Budapest for her studies, Siv\u00e1k developed a more systematic and observational approach to her surroundings, which continues to influence her photographic practice today.\u201d<\/span>
<\/span>
<\/span>EDUCATION<\/span>
<\/span>
<\/span>2022 - 2025 Design and Visual Art Teacher, MA, Moholy-Nagy University of Art and Design, Budapest<\/span>
<\/span>2017 - 2019 Photography, MA, Moholy-Nagy University of Art and Design, Budapest<\/span>
<\/span>2014 - 2017 Photography, BA, Moholy-Nagy University of Art and Design, Budapest<\/span>
<\/span>
<\/span>PRIZES, SCHOLARSHIPS<\/span>
<\/span>
<\/span>2024 Kranj Foto Fest \u2014 Finalist<\/span>
<\/span>2023 Hungarian Academy of Arts \u2014 Photography Scholarship<\/span>
<\/span>2022 National Cultural Fund \u2014 Artist Grant (Photography)<\/span>
<\/span>2021 No Borders Award \u2014 1st Place (Poland)<\/span>
<\/span>2021 FUTURES Photography Platform \u2014 Selected Artist (nominated by the Robert Capa Contemporary Photography Center)<\/span>
<\/span>2021 39th Hungarian Press Photo Awards \u2014 Documentary, 1st Place<\/span>
<\/span>2020 P\u00e9csi J\u00f3zsef Photography Scholarship<\/span>
<\/span>2019 Budapest Portfolio Review \u2014 Magnum Special Prize<\/span>
<\/span>2019 37th Hungarian Press Photo Awards \u2014 Documentary, 3rd Place<\/span>
<\/span>2018 National Higher Education Scholarship<\/span>
<\/span>2018 Studio of Young Photographers (FFS) \u2014 Membership<\/span>
<\/span>2017 Canon Student Program \u2014 Visa pour l\u2019Image, Perpignan<\/span>
<\/span>2017 Budapest Photo Festival \u2014 Portfolio Review, 1st Place<\/span>
<\/span>2017 35th Hungarian Press Photo Awards \u2014 Documentary, 1st Place<\/span>
<\/span>2017 35th Hungarian Press Photo Awards \u2014 Best Photojournalist Under 30<\/span>
<\/span>
<\/span>EXHIBITIONS<\/span>
<\/span>
<\/span>2025 Similar, Yet the Same \u2014 Robert Capa Contemporary Photography Center, Budapest, Hungary<\/span>
<\/span>2025 On the Go \u2014 Fotografisk Center, Copenhagen, Denmark<\/span>
<\/span>2024 Kranj Foto Fest \u2014 Kranj, Slovenia<\/span>
<\/span>2022 Thirtythree \u2014 Liszt Institute, Sofia, Bulgaria<\/span>
<\/span>2021 No Borders \u2014 Bielsko-Bia\u0142a, Poland<\/span>
<\/span>2021 Art Market Budapest \u2014 B\u00e1lna, Budapest, Hungary<\/span>
<\/span>2021 39th Hungarian Press Photo Exhibition \u2014 Kunsthalle, Budapest, Hungary<\/span>
<\/span>2021 Thirtythree \u2014 National Museum of the Romanian Peasant, Bucharest, Romania<\/span>
<\/span>2021 J\u00f3zsef P\u00e9csi Fellowship for Art Photography (2020) \u2014 Robert Capa Contemporary Photography Center, Budapest, Hungary<\/span>
<\/span>2019 Deep Flows \u2014 MODEM, Debrecen, Hungary<\/span>
<\/span>2019 Breda Photo Festival: A New Horizon of Photography \u2014 Grote Kerk, Breda, Netherlands<\/span>
<\/span>2019 37th Hungarian Press Photo Exhibition \u2014 Capa Center, Budapest, Hungary<\/span>
<\/span>2019 Contemporary Landscape \u2014 Kiscelli Museum, Budapest, Hungary<\/span>
<\/span>2019 Fresh Meat \u2014 Hybridart Gallery, Budapest, Hungary<\/span>
<\/span>2018 We Don\u2019t Play Guitars \u2014 K.A.S. Gallery, Budapest, Hungary<\/span>
<\/span>2018 Art Market Budapest \u2014 Millen\u00e1ris, Budapest, Hungary<\/span>
<\/span>2018 Openings \u2014 B32 Gallery, Budapest, Hungary<\/span>
<\/span>2018 A Glance into the Present \u2014 Capa Center, Budapest, Hungary<\/span>
<\/span>2018 Paradigma \u2014 Budapest Project Gallery, Budapest, Hungary<\/span>
<\/span>2018 Contemporary Still Life \u2014 Kiscelli Museum, Budapest, Hungary<\/span>
<\/span>2017 Entr\u00e9e \u2014 Szent Gy\u00f6rgy Square Cellar System, Budapest, Hungary<\/span>
<\/span>2017 Art Market Budapest \u2014 Millen\u00e1ris, Budapest, Hungary<\/span>
<\/span>2017 A Matter of Perspective \u2014 Hybridart Gallery, Budapest, Hungary<\/span>
<\/span>2017 35th Hungarian Press Photo Exhibition \u2014 Robert Capa Contemporary Photography Center<\/span>
<\/span>
<\/span>WORKSHOPS<\/span>
<\/span>
<\/span>2024 Magnum Photos Workshop \u2014 Robert Capa Contemporary Photography Center, Budapest, Hungary<\/span>
<\/span>2024 Nikon \u00d7 Esther Horv\u00e1th Workshop \u2014 Robert Capa Contemporary Photography Center, Budapest, Hungary<\/span>
<\/span>2019 Magnum Photos Workshop \u2014 Robert Capa Contemporary Photography Center, Budapest, Hungary<\/span><\/p>\n<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\t

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In recent years, numerous rural pubs in Hungary have permanently closed or been transformed according to local demands, often stripped entirely of their original function. In my photographic series No Credit, I have so far visited and photographed the still-operating pubs of settlements with fewer than 3,000 inhabitants in Heves County, based on subjective criteria. The project began from a personal connection. I was born and raised in the county, so the chosen region is one of the primary social and visual reference points of my own experience. I approached rural pubs as motifs through which the current social condition of the Hungarian countryside, as well as the everyday reality of marginalized social groups living on its periphery, could become visible. <\/span>
<\/span>
<\/span>Within the framework of the Capa Grand Prize, I would like to expand and realize this work in its final form. In the next phase, I plan to map pubs beyond Heves County, focusing on disadvantaged, peripheral, and semi-peripheral regions across Hungary, with particular attention to areas where social decline, migration, unemployment, and the disintegration of community structures are especially present. I still consider the pub as a starting point, but my aim is to create a more complex visual body of work that goes beyond simply documenting these locations. In this context, pubs function as communal nodes. Places where local isolation, generational shifts, economic decline, and questions of cultural identity become visible at once. For this reason, I do not only photograph pub interiors or their guests, but also the broader environments connected to them.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Zs\u00f3fia Siv\u00e1k\u2019s project \u201cNo Credit\u201d combines careful observation with an original visual language. Her investigation of rural pubs is not only a testimony to a disappearing world, but a lens through which she observes\u2014with humor and wit\u2014the current social condition of the Hungarian countryside and the broader reality of otherwise unseen communities.<\/em><\/div>\n
Wiktoria Micha\u0142kiewicz<\/em><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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HOUSES BUILT ON SAND<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Viktor V\u00e1radi<\/span><\/h3>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\n\t\t\n\t\t<\/i>\t\t<\/span>\n\t\t\t\t\t
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VIKTOR V\u00c1RADI<\/span>
<\/span>photographer, teacher of photography<\/span>
<\/span>
<\/span>CONTACT<\/span>
<\/span>Telefon: +36-70-382-53-94<\/span>
<\/span>Email: varadi.viktor@gmail.com<\/span>
<\/span>Address: Ferenc Street 11, Door 16, 1184 Budapest, Hungary 16. .<\/span>
<\/span>Date of birth: 06 October 1979 <\/span>
<\/span>
<\/span>Website: varadiviktor.com<\/span>
<\/span>Instagram: https:\/\/www.instagram.com\/varadi.viktor\/<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>WORK EXPERIENCE<\/span>
<\/span>
<\/span>2022\u2013Present
Part-time Teacher \u2013 Budapest Metropolitan University<\/span>
<\/span>2020\u2013Present
Head of Photography Department \u2013 SZAMALK Salesian Technical School and Vocational High School<\/span>
<\/span>2008\u2013Present
Freelance Photographer<\/span>
<\/span>
<\/span>2015\u20132020
Teacher \u2013 SZAMALK Salesian Technical School and Vocational High School<\/span>
<\/span>2014
Trainee Teacher \u2013 Obuda Vocational School of Fine Arts, Budapest<\/span>
<\/span>2013\u20132015
Part-time Teacher \u2013 Eventus Business and Arts High School, Eger<\/span>
<\/span>2012
Course Leader (Event Photography) \u2013 Keppont Photoschool, Budapest<\/span>
<\/span>2009\u20132011
Course Leader (Event Photography) \u2013 Fotografus.hu Foundation Photoschool, Budapest<\/span>
<\/span>2009\u20132010
Administrator \u2013 Fotopost.hu online photography magazine<\/span>
<\/span>2003\u20132008
IT Specialist \u2013 Municipality of Kiskunhalas<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>EDUCATION<\/span>
<\/span>
<\/span>2011\u20132013
MA in Photography \u2013 Moholy-Nagy University of Art and Design, Budapest<\/span>
<\/span>2005\u20132007
Fotografus.hu Foundation Photoschool, Budapest<\/span>
<\/span>1998\u20132001
Programmer-Mathematician \u2013 University of Szeged<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>SOLO EXHIBITIONS<\/span>
<\/span>
<\/span>2024
ARANYHOMOK \/ GOLDEN SAND \u2013 Foton Gallery, Budapest<\/span>
<\/span>2021
EL\u0150H\u00cdV\u00c1S \/ DEVELOPMENT \u2013 TOBE Gallery, Budapest<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>GROUP EXHIBITIONS (SELECTED)<\/span>
<\/span>
<\/span>2025
OFF Bratislava \u2013 OFF Libris section, Bratislava, Slovakia<\/span>
<\/span>
<\/span>2024
Kert\/Kertesz XXIII Biennale of Photography \u2013 <\/span>
<\/span> Esztergom, Budapest<\/span>
<\/span>
<\/span>2024
PRO FORMA \u2013 Kiscelli Museum, Budapest<\/span>
<\/span>
<\/span>2016
SELF-MAPPING \u2013 Faur Zsofi Gallery, Budapest<\/span>
<\/span>
<\/span>2014
UBIK \u2013 Casati Art Corner Gallery, Budapest<\/span>
<\/span>2014 Le cocon familial \u2013 Institut Balassi, Paris<\/span>
<\/span>
<\/span>2013
MOME Diploma \u2013 Ponton Gallery, Budapest<\/span>
<\/span>2013
Interni Familiari \u2013 Art Factory, Catania, Italy<\/span>
<\/span>
<\/span>2012
Jozsef Pecsi Grant Exhibition \u2013 Mai Mano House, Budapest<\/span>
<\/span>
<\/span>2011
Photo Biennale \u2013 Dunaujvaros<\/span>
<\/span>
<\/span>2010
Homo Ludens \u2013 Esztergom Biennale<\/span>
<\/span>2010
Cloud Factory \u2013 Mai Mano House, Budapest<\/span>
<\/span>2010
Foretaste \u2013 Hungarian Cultural Centre, Prague<\/span>
<\/span>
<\/span>2009
From Dusk till Dawn \u2013 Holdudvar Gallery, Budapest<\/span>
<\/span>2009
Refresh \/ Image Error \u2013 ArtBazis, Budapest<\/span>
<\/span>2009
Photo Biennale \u2013 Dunaujvaros<\/span>
<\/span>
<\/span>2007
Chachipe \u2013 Centralis Gallery, Budapest<\/span>
<\/span>2007
Photo Biennale \u2013 Dunaujvaros<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>AWARDS<\/span>
<\/span>
<\/span>2024\u20132027
Scholarship \u2013 Hungarian Academy of Arts<\/span>
<\/span>2010\u20132011
Jozsef Pecsi Fine Art Photography Grant<\/span>
<\/span>2010
MAOE Prize \u2013 Esztergom Biennale<\/span>
<\/span>2007
Scholarship \u2013 Fotografus.hu Foundation Photoschool<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>MEMBERSHIPS<\/span>
<\/span>
<\/span>2023\u2013Present
Association of Hungarian Photographers<\/span>
<\/span>2009\u20132015
Studio of Young Photographers (FFS)<\/span>
<\/span>
<\/span>----------------------------------------<\/span>
<\/span>LANGUAGES<\/span>
<\/span>
<\/span>Hungarian \u2013 Native
English \u2013 Intermediate<\/span>
<\/span>----------------------------------------<\/span>
<\/span>BIOGRAPHY \/ PUBLICATIONS<\/span>
<\/span>
<\/span>2024
Index.hu feature article:
https:\/\/index.hu\/nagykep\/2024\/05\/04\/aranyhomok-homok-sivatag-csengod-varadi-viktor-klimavaltozas\/<\/span>
<\/span>
\nhttps:\/\/index.hu\/nagykep\/2024\/05\/04\/aranyhomok-homok-sivatag-csengod-varadi-viktor-klimavaltozas\/<\/span>
<\/span>
<\/span>2024
ARANYHOMOK \/ GOLDEN SAND (photobook)
https:\/\/www.youtube.com\/watch?v=SUNqeZyEMdA
<\/span>
<\/span>
\nhttps:\/\/www.youtube.com\/watch?v=SUNqeZyEMdA<\/span>
<\/span>
<\/span>2023
Spotlight on new members:
https:\/\/punkt.hu\/2023\/06\/17\/fokuszban-az-mfsz-uj-tagjai-varadi-viktor\/<\/span>
<\/span>
\nhttps:\/\/punkt.hu\/2023\/06\/17\/fokuszban-az-mfsz-uj-tagjai-varadi-viktor\/<\/span>
<\/span>
<\/span>2022
Covid Diary 20\u201322 (photobook)
https:\/\/www.youtube.com\/watch?v=lmUjoz-Fhjo<\/span>
<\/span>
\nhttps:\/\/www.youtube.com\/watch?v=lmUjoz-Fhjo<\/span>
<\/span>
<\/span>2021
Pousse Caf\u00e9 at TOBE Gallery \u2013 Development by V\u00e1radi Viktor \u2013 Guly\u00e1s Mikl\u00f3s
https:\/\/www.youtube.com\/watch?v=dfQWi4hZmsA<\/span>
<\/span>
\nhttps:\/\/www.youtube.com\/watch?v=dfQWi4hZmsA<\/span>
<\/span>
<\/span>2021
EL\u0150H\u00cdV\u00c1S \/ DEVELOPMENT (photobook)
https:\/\/www.youtube.com\/watch?v=wb2Z4nyec9M<\/span>
<\/span>
\nhttps:\/\/www.youtube.com\/watch?v=wb2Z4nyec9M<\/span>
<\/span>
<\/span>2012
Somogyi Zs\u00f3fia - INTRODUCING THE RECIPIENTS OF THE J\u00d3ZSEF P\u00c9CSI FINE ART PHOTOGRAPHY SCHOLARSHIP - Enik\u0151 Hangay, Viktor V\u00e1radi:
https:\/\/fotomuveszet.net\/korabbi_szamok\/201204\/pecsi_jozsef-osztondijasok_bemutatkozo_kiallitasa<\/span>
<\/span>
\nhttps:\/\/fotomuveszet.net\/korabbi_szamok\/201204\/pecsi_jozsef-osztondijasok_bemutatkozo_kiallitasa<\/span>
<\/span>
<\/span>2012
Catalog of the J\u00f3zsef P\u00e9csi Fine Art Photography Grant<\/span><\/p>\n<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\t

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Between 2022 and 2024, with support from the National Cultural Fund, I began working on my project titled GOLDEN SAND, which explores the world of the Great Hungarian Plain and the Homokh\u00e1ts\u00e1g region\u2014my homeland in the narrower sense\u2014with a particular focus on the challenges of the climate crisis, all viewed through a personal perspective.<\/span>
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<\/span>After a short break, I began working on the continuation of this project, titled Houses Built on Sand, in the fall of 2024. This time, I am examining life in my hometown and the surrounding communities from historical, economic, and demographic perspectives, as well as from a perspective that remains deeply personal. <\/span>
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<\/span>In the late 1800s, an epidemic of phylloxera (root aphids) ravaged Hungary\u2019s vineyards, destroying 90% of the grape harvest in the country\u2019s wine regions. However, farmers realized that the phylloxera dislikes sandy soil and the quartz crystal structure of sand, and cannot survive in it, so many winemakers were forced to move to the Great Hungarian Plain, specifically to the Homokh\u00e1ts\u00e1g region. Despite the fact that they could not produce high-quality grapes and wine on this soil, only quantity. In the region, which until then had typically consisted of scattered farms, villages and towns began to form. It was then that my hometown, Cseng\u0151d, became a village, and it was at this time that my great-grandparents moved here with my grandfather, who was still a small child at the time. In the 20th century, viticulture and winemaking provided the livelihood for the region\u2019s settlements. After World War II, the Soviet Union and its member states became the primary market. However, due to the changed political and economic conditions following the fall of communism, as well as increasingly severe droughts and the climate crisis, viticulture gradually declined. Without an alternative to replace it, the villages are gradually becoming depopulated and aging, and an ever-larger portion of the land remains uncultivated. <\/span>
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<\/span>In my latest work, Houses Built on Sand, I explore this theme through archival photographs of my father and grandfather, as well as my own photographs. Both my grandfather and father were amateur photographers; I select and digitize photos from the inherited family archive, often cropping them drastically to recompose them, and then insert them among my own recent photos, thereby creating a dialogue between them. In this way, I show the past and present world of the Homokh\u00e1ts\u00e1g region, spanning a time span of more than 80 years, through the subjective perspective of myself and my family. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Viktor V\u00e1radi\u2019s series Houses Built on Sand combines images spanning three generations. Through this deeply personal approach, V\u00e1radi creates a striking visual reflection on our contemporary condition and the imminent challenges posed by climate change. By interweaving familial memory with broader environmental concerns, the work evokes both the fragility of inherited landscapes and the uncertainty of the future. <\/em><\/div>\n
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Manfred Wiplinger<\/em><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

CAPA GRAND PRIZE HUNGARY 2026 CANDIDATES We are delighted to announce that the jury has selected the five shortlisted nominees for the Capa Grand Prize Hungary 2026. This year\u2019s candidates are the Depth of Field Narrative Group \u2013 DNG (Zsolt Bal\u00e1zs and G\u00e1bor Si\u00f3r\u00e9ti), No\u00e9mi Napsug\u00e1r Melegh, Zs\u00f3fia P\u00e1lyi, Zs\u00f3fia Siv\u00e1k, and Viktor V\u00e1radi. In […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"disabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-6730","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/pages\/6730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/comments?post=6730"}],"version-history":[{"count":31,"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/pages\/6730\/revisions"}],"predecessor-version":[{"id":7097,"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/pages\/6730\/revisions\/7097"}],"wp:attachment":[{"href":"https:\/\/nagydij.capacenter.hu\/en\/wp-json\/wp\/v2\/media?parent=6730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}