Production report on a sunken world

We – my brother Gyuri and I – got to know Lajos Erdélyi in our childhood from his photo album about the Jewish cemeteries of Transylvania. This was, I think, the first book that gave news, showed pictures and offered short but thought-provoking analyses of those cemeteries and their richly carved tombstones, which at that time were still sunken into the ground and overgrown with bushes all over Eastern Europe, waiting to be rediscovered. It was this book that started us, like many others, to discover these cemeteries and the former Jewish culture of our Eastern Europe. And the photos in this book also served as models for how to photograph these cemeteries, the pathos of the tombstones leaning forward, the helplessness of the stones standing in frightened rows, the cheerfulness of the anthropomorphic symbolic animals.

This album was probably the closest to the author himself, who said several times: “I was a Hungarian among Romanians, and a Jew among Hungarians”. His memoir as to what it meant to be “a Jew among Hungarians”, was just published in Litera. But this thin, poorly printed Kriterion edition was merely a love child in his work as a photographer and writer. The “legitimate” offspring were the photographs he took as an employee of the Hungarian-language Romanian newspaper Új Élet (New Life) about the life of the Socialist country from Oradea to the Danube Delta. In 2023, the negatives of these photographs, Lajos Erdélyi’s complete archive, were given by his heirs to the Blinken OSA Archive in Budapest, where, after two years of work, an exhibition entitled The insensitive photojournalist has now opened, selected and curated by Lenke Szilágyi and Zsuzsanna Zádori.

The newspaper needed production reports on the successes of Socialist industrialization, on the incredible new achievements under Ceauşescu, on a prosperous and happy country. Lajos Erdélyi went where he was sent, and photographed what was needed. But in his pictures, alongside the concrete and steel monsters, there is always a piece of real life. And that dominates the picture.

By collecting and invetorying a multitude of such pieces of real life, this archive became the chronicle of a sunken world that many of us have seen and recognize, but those who come after us will only be able to see it in Lajos Erdélyi’s pictures.

A literally sunken world that we have not seen: the last years of the village of Bözödújfalu (Bezidu Nou), which was doomed to be flooded in 1988. It must have been painful for all of Lajos Erdélyi’s identities to document the destruction of this Székely village that, from the 17th century on, converted to Judaism.

Those who saw these photos in Új Élet, where they were published in the form of poorly printed stamps, can only now really see them for the first time. The curators sometimes display original newspaper prints side by side with the enlarged version of the detailed and sensitive photo. The latter in this format tells stories that perhaps was better not to be caught by the censors of the time.

And the camera with which Lajos Erdélyi photographed all of this. The Nikon F camera was given to him as a gift by his former schoolmate and fellow prisoner in the concentration camp, Raymond Naftali, who emigrated to America.