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"Selling art is like selling a pair of shoes", says the cultural 'salesman' and agent of Hungarian dance, art, music and textile creations. Andrew Princz, who is a Canadian of Hungarian origin, is an art historian turned journalist who now works as a cultural manager in Budapest. During the past week, Princz was looking for buyers for film projects at his stand at the DISCOP television market held in the capital.
"You can say that my life here is a bit schizophrenic," says Andrew Princz, "Both my parents are originally from Hungary, and left for Canada in l956 during the Hungarian revolution. My grandmother still lives here, and even as a child I was interested to know about my family's past and was eager to know more about my Hungarian roots. A few years ago I visited Budapest and looked for my father's articles in the Szechenyi Library archives. He was a journalist with the Hungarian daily Delmagyarorszag before he fled, and I discovered that he wrote under the name Apor. Reading the articles was a very moving experience for me.
Then in l994 I came to Budapest to work on a project. I was looking for a job that summer and an ad caught my attention. "Seeking well connected, Hungarian speaking student for intriguing artistic project," it read. Right away I told myself that that would be my summer job.
Andrew Princz
l970 October 28, born in Montreal
l995 graduates in Fine Arts at Concordia University, Montreal
l996-l998 works for the National Gallery of Canada, then for Imax Film producers
l998 receives scholarship from the Canadian Ministry of Foreign Affairs, works for the Center for Independent Journalism, Budapest
l999 creates ontheglobe.com webpage contributor to the Wall Street Journal Europe and to various German and North American news agencies
Nepszabadsag: Did they offer work in Montreal, or in Hungary?
Princz: In Hungary. That is, I was to help organize the Canadian cultural participation in Expo 1996, which was to be held in Budapest.
Népszabadság: As a summer job?
Princz: Naturally, it was not me alone that was to do the organization. I was the assistant of a remarkable man, Colin McIntyre. He is an arts manager who when he was young was the stage manager for Marlene Dietrich. As his assistant, I was at times his interpreter, wrote for him and was his chauffeur.
Népszabadság: But they cancelled the EXPO in the end.
Princz: We were in fact in a taxi when we got news of the cancellation. Colin, for his part left the very next day. I stayed on to fix my grandmother's toilet. Then I also flew back, only to return to stay in l998
Népszabadság: Did something go wrong at your grandmother's place again?
Princz: I was a full-fledged art historian when I won a scholarship from the Canadian Ministry of Foreign Affairs to work at the Center for Independent Journalism here in Budapest. It was during that time that I became a journalist. Later I was asked to edit a magazine for the American Chamber of Commerce, and now I do the same for a Canadian publication.
Népszabadság: When we first spoke you were managing the public relations of the recently opened Ernst Gallery in Budapest. Were you not content with your work as a journalist?
Princz: Well, when I arrived in Budapest I started to work on a website, so that I could sell my articles abroad. I wrote about culture, business and on other subjects that interested me at the time. One of my articles was bought by Wall Street Journal Europe. The editor in chief then suggested that I contribute to the cultural section, and then so on. It so happened that I became an occasional contributor to the paper, and then I continued to work for various other news agencies abroad. All the while, I have never really met the editors in person.
Népszabadság: You didn't answer the question about how you became part of the international team at the Ernst Gallery. Why did the Austrian-born, Mr Wastl, and his Greek wife chose a Canadian to become their press liaison?
Princz: The whole thing started with my website, ontheglobe.com. The original idea was to choose some products from the Hungarian cultural market and try to sell them in Europe and overseas. Ernst Wastl picked up on this. When we first met, it turned out that he doesn't talk about money on the first meeting, and this is the kind of person I like to work with.
Népszabadság: Being a foreigner, how did you discover those Hungarian artists that you wanted to work with?
Princz: These acquaintances came spontaneously. I met Kata Juhasz, a dancer of the Pal Frenak Company in a cafe. I was really fascinated with her energy. In Canada people are slower and more contemplative. I myself was afraid, that one day I would get up of my chair and notice that moss had grown on my behind. Here artists are dynamic and demand a lot from themselves. With the Pal Frenak dance company, we already have ten performances abroad scheduled for next year. For the past four years my life in this city has been a whirling, spinning chaotic existence. I love it. If in Hungary somebody wants to do something, he can find a place for himself.
Népszabadság: Yet many Hungarian artists complain of just the opposite.
Princz: A good counter-argument once again, is the Pal Frenak Company. They don't complain and instead they work like crazy. Of course, its not enough to have reviews in Le Monde or Le Figaro, these productions need good management. That is why I developed ontheglobe.com. One day after negotiating with a festival organizer, Pal Frenak told me "it's not shoes that we are selling!" Yet at the same time at the negotiating table we have to sell the company as if it was any other product. The love, the passion, selflessness are required for creation- as well as contacts and planning. We often help each other in the arts without ever speaking of money.
Népszabadság: Did any other dance company approach you?
Princz: Not dance companies, but others did. I manage textile artists who create beautiful designs out of felt. So far I am their best customer, but it doesn't matter. Things will work out tomorrow, or after tomorrow. Out of ten projects maybe two succeed at first.
