Between continents

While János in the EU and Zsuzsanna constantly being on the road, the book has been traveling from the first moment:

“I was on the Boston to New York Chinatown bus in late 2018, when János and I brainstormed about what format our collaboration should take. We had a shared interests in books, but what kind of book can hold our many sided two worlds? Even thought I grew up in Hungary, 22 years is a fair distance and János had never been in the US. Before getting to New York, we had already settled on the titles: Productive Misreadings | Termékeny félreértés.

Transit times were my most productive “office” times, especially back when I split my schedule between New York and Boston, with weekly bus rides. This otherwise useless in-between time had became an essential part of my practice. Afterwards, these in between times extended to trips between Israel and Eastern Europe. The book, in its raw form, had visited Croatia, Italy, Austria, and France. A year later the last pages were finished in New York and were finalized and made press ready in Boston.  Only then was I finally able to see it as a whole on a large monitor (and approve) what we had made. Until then I was viewing it on my laptop with impossible light conditions, as I was working on it in cafes, libraries, bars, museums, on the shore overlooking the Mediterranean sea, then the Adriatic and the Venetian Lagoon, or simply in my family’s and friend’s backyards. Basically wherever I was, the book traveled with me. The pages lived in the cloud, on my laptop, were exchanged back and forth between us, evolving, just as conversations get carried out in a chat window. I could have found a proper place to work in, but this project was not about perfection. Instead, the book was about capturing our reactions to each other, responding on another, in a dialogue that naturally also recorded the environment. These environments and conditions had supported and at times limited the process, and we had let these all be seen.

At the end, our book recorded interactions between an artist and a poet over a year-and-a-half long journey. Moving in and out of our comfort zones to be able to respond to each other without adhering to the limitations of the medium, language, time shifts, or geographic locations. 

We developed a fresh take on how we can collaborate while apart. Conversing only through the work and letting the imprints of our realities record on the pages.”

Krapanj, Croatia. My office at the sea.
Kaposvár, Hunagry. The weather is great, therefore I can find any table surface as my studio.
Working.
Szentannapuszta, Hungary. I needed a place of peace and quiet.
Budapest-Vienna Intercity. This train ride was one of the most memorable spots to set studio.
Venice, Italy. Workday on a rainy day.
Caesarea Maritima, Roman/Israel/Palaestinae. Unexpectedly, my journey was interrupted by the public transportation shut down according to the regular Friday schedules. This made me experience a new dimension of blockage, I was not familiar yet. What to do, I found a perfect spot to keep working on the book.
Ancient Roman road, Caesarea Maritima, Roman/Israel/Palaestinae. As I found myself held back with a privilege to unexpectedly set office in an ancient city (built by King Herold the Great before birth of Christ, serving various administrations during history), I felt numbed by the weight of the road. It didn’t feel good to be subjected to the infrastructure.