Miklós Klaus Rózsa

Aggiornato il: 27 nov 2020


Title : Miklós Klaus Rózsa

Photographer(s) : Miklós Klaus Rózsa and others

Writer(s) : Christof Nüssli, Christoph Oeschger, Peter Kamber, Miklós Klaus Rózsa

Designer(s): Christof Nüssli, Christoph Oeschger

Publisher(s): Spector Books, Leipzig, Germany and CPRESS, Zurich, Swiss

Year : 2014

Print run : 2400

Language(s) : English, German

Pages : 624

Size : 21 x 29,5 cm

Binding : Softcover

Edition :

Print : DZA Druckerrei zu Altenburg, Germany

Nation(s) and year(s) of Protest : Swiss, 1971-1989

ISBN : 9783944669427





















Documentation and surveillance clash in the artist publication «Miklós Klaus Rózsa»: Photographs by Rózsa are combined with surveillance records compiled by homeland security over 28 years.

The record contains about 3500 typed A4 sheets which are supplemented by hand written notes. Before their release to the persons involved, large parts of the documents were blacked out. Next to the records of demonstrations and political events it contains press articles, pictures and notes of monitored telephone conversations. The content of the documents alternate between bureaucratic language and a hostile tone towards the monitored individuals.

The counterpart to the files is Miklós Klaus Rózsa’s photography. Originated in the notion of autonomous coverage, it stands for another sight, another truth to the normative position of the press. It is an extensive archive built up over years, documenting the history of the left between 1971 and 2000. Apart from a documentary purpose, Rózsa’s photography was also a political act. Or, how a surveillance operator precisely observed and noted in the record: «Retains assaults by the police in all elaborations and constrains thereby the work of the police.»

Through collaging the historical material, new images arise, telling the story of an eventful time from two opposing perspectives. On one side the perspective from inside of the movement through Rózsa’s photographs, and on the other side the uncomprehending perspective of the movement through the surveillance records of the police.

From the launch of the project.


From the presentation on CPRESS Edition.

This publication draws on the documents compiled by the photographer and political activist Miklós Klaus Rózsa (1954) from 1971 to 1989, consisting of an assortment of photographs taken by Rózsa as well as state security files on Rózsa, as reported by the Federal Police, the Cantonal Police, and the Zurich Police Department. The published materials all stem from Rózsa’s personal archive. The use of pictures and state security files from other sources has been intentionally excluded as the authors intent is to make the scope of the whole movement and counter movement tangible through one exemplary individual. This single-sourced form was only to be made possible through the comprehensive archive of Klaus Rózsa. The duality is fascinating, the fact that both sides subjectively report about the same event, but in quite different ways.

Motivated by autonomous reporting, Rózsa assembled an extensive picture library which was used for all kinds of publications in the scene, for leaflets, and press materials. Besides the inherent documentary value of the images, Rózsa considered his photography to be a political act. Rózsa “shot back” with his camera, trying to uncover informants and to capture police brutality. The files reveal the sensitive ways in which the police reacted to Rózsa’s counter-spying. Rózsa also formulated his view of the events in a personal essay specifically written for this publication.

The state security files function as counterpart to the photographs. They contain A5-sized index cards called “fiches” in Swiss German, as well as dossiers (in A4 format). These contain police reports, notes on monitored phone calls, photos, newspaper clippings, flyers, and film recordings. Information gathering was made by police officers, commissioners of the political police, undercover agents, confidants as well as informers. Press information was also frequently relied upon.

The resulting collage produces new images, and tells the story of an eventful period from two perspectives. Both narrative lines could not be more disparate. On one side are Rózsa’s pictures, which document the events from within the youth movement. On the other side the surveillance files illustrate the distant and often uncomprehending look of the police onto the events. The juxtaposition of Rózsa’s pictures and the state security texts creates a moment of conflict, which points to the ambiguity of both source materials. Observation and surveillance encounter one another. In chronological sequence Christof Nüssli and Christoph Oeschger juxtapose the state text production with the pictures of those under surveillance. Through this montage Nüssli/Oeschger as authors create a new and distinct reading of the original source material.









































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