Experimental film  |   b&w  |   1984  |   35'

The designs for artistamps sent to the World Art Post competition announced by Artpool in 1981 were numbered in the order they arrived. This incidental order determined the editing of the film, which is a sequence of still pictures. The sound, independent from the images, but at the same time connecting them, is a montage of sound works sent by the same participating artists.(Artpool)
Excerpt from Galántai's Diary from 1982  STAMPFILM - The accidental as montage-technique In response to an invitation of mine, between December, 1980 and December, 1981, about 600 artists from 35 countries submitted 731 entries for a (self)memorial stamp design. As they arrived each day, consecutive numbers were assigned to the stamp designs (photos, drawings, texts, all the size of a stamp and edged, like a stamp, in a frame of "perforation"). As the days passed, the accidental sequence of the pictures began to turn into an intelligible series, as if the successive designs were continuations of one another. The remarkable result that the 731 stamp designs added up to a coherent series gave me the idea of making a film of this accidental montage.The filming, the enlarging of the scale, and the emphasis put on the element of consecution allows the viewer to share the excitement of the series' unpredictable formation. The music in the film-which also came from the artists who supplied the pictures-is independent of the images shown at any particular time; the occasional consonance is coincidental.
Excerpt from the text by Anna Wessely written for the World Art Post catalogue in 1982 The [artistamp] action had a time dimension as well. The temporal sequence of artists' stamps as delivered by the postman, realizes a random montage of pictorial forms which, as a whole, becomes significant on a new level as one single statement speaking many languages simultaneously. This temporal aspect has naturally led to a documentation in film.


Director: György Galántai Cinematographer: László Pallós, Imre Varga Screenwriter: Sound engineer: Béla Prohászka Maker: BBS

The Béla Balázs Studio

The Béla Balázs Studio was born in 1959 as a grassroot initiative of young filmmakers engaged in the renewal of Hungarian cinematorgraphy, and became institutionalized in 1961 due to the support from the cultural policy-makers of post-56 consolidation.
In the 70s, the BBS, besides young filmmakers graduated from the Hungarian Film Academy, also started to admit “outsiders” in its ranks. Throughout the decade, the Studio was a site of passionate debates animating a progressive workshop atmosphere where experimental, conceptual tendencies competed with documentarist approaches engaged in a social transformation.
Breaking with the avant-guardist attitude, the BBS in the 80s became a free space of “institutional dissidence” characteristic of the time, and a major workshop of Hungarian video-art that by documenting the process of democratization contributed substantially to the deconstruction of state-socialism in Hungary.
Questioning its raison d’etre, the dominant cultural policies of the 90s doomed the workshop to slow atrophy. The Balázs Béla Studio signed its last production in 2005 and ceased to exist in 2010.

The BBS Research Archive

The BBS Research Archive was created as a joint initiative of the Balázs Béla Studio Foudation, the Műcsarnok/Kunsthalle Budapest and the Hungarian National Film Archive in 2006. The purpose of the Archive is to disseminate the films and various documents produced during the 50 years of the BBS’ activity. The digital copies and the documents preserved in the library of Műcsarnok/Kunsthalle are available for consultation in the library during official opening hours. Műcsarnok non -profit Ltd. is sustained by the Hungarian Academy of Arts.