(We haven’t been curators together, nor hanged men or anything else people usually say at these occasions.) The exhibition Teljességgel lehetetlen was born with the idea of “2in1”, as we integrated two different exhibitions. The pictures from the events of Spanyolnátha were accompanied by artistic photographs in the listed building wing of Rákóczi-ház. Tibor Vass selected quotations by collaborators of the project with Szépírók Társasága named A könyv utóélete and also asked photographers to take — or choose from their recent — unpublished photos for the lines personally chosen for them.

While choosing the documentary photos we did not take protocol viewpoints into account, the point was not to create an appendix of images eligible for competition with famous names and events. We did not consider whether the particular event was important in the history of the periodical or not, it did not matter, whether the people on the picture are important figures in connection with the paper or they just happened to be there visiting the gallery. We only cared about one thing: the pictures had to be interesting for those who have never been at a Spanyolnátha event -the atmosphere of a photo, or a face in a picture had to mesmerize the viewer. From thousands of pictures we selected a hundred which, due to the dimensions of the available space, was narrowed down to eighty. (We were sitting on the bed, shuffling through photos, pushing the delete button mercilessly, and sometimes one of us shouted: That was good! So we went back “trash-diving”.) As it was expected, most of the chosen pictures were from the picnics at Hernádkak Önök Kerték Spanyolnátha Garden Festival as these outdoor events have such powerful atmosphere, that everyone who is there immediately reaches for their cameras.

The garden festival gave us the idea for the installation of the exhibition, which we developed further step by step. (The idea to hang the works on lines with wooden clothes pegs like in a garden came from Gábor. Reminiscing of an Angyal movie I saw in my childhood, I had the suggestion that the clothes lines should run all around the room like the rays of the laser grid protecting works of art. Tibor Urbán added quivering little branches to the system of lines to make a difference.)

The exhibition had almost a hundred photos. Some of the quotes were used more than once. (As a “half-curator” and exhibitioner I can say the parts chosen from the text were very exciting, the photographer would have liked to select a photo for almost all of them. It is one thing that most of the photos could be “forced” to be used with the quotes, but here one could distinctively feel the text and the picture click, their “friendship”, their reliance on each other... Those who looked at the exhibition this way experienced a highly intellectual game.) We were hoping that visitors would follow some of the texts or stroll back to previously visited rooms to compare how the same quotations inspired the thoughts and pictures of the artists. We also hope that they will go online, search for the whole text and browse through all the photos of the documentary. (Although they look much better at an exhibition.)