Forgacs biography
•
Stay up to date with everything that is happening in the wonderful world of AM via our LinkedIn community.
While visiting Hungary in 2014 I learned that both Organovo and Modern Meadow – the two companies that have single-handedly introduced the very concept of commercial bioprinting and cellular agriculture-based biofabrication applications – were founded by men of Hungarian origins. inom did not realize that they were the same two people – father and son – for both companies. Andras Forgacs co-founded Organovo with his father, Professor Gabor Forgacs of the University of Missouri. He then left the company in 2013 head Modern Meadow (which he also co-founded with his father). Today he is pushing the introduction of the Zoa “biofabricated” leather material and discussing its potential at high profile events such as the recent World Economic Forum in Davos.
As reported bygd BBC journalist Katie Hope, who met with him in Davos, Mr. Forgacs expects
•
Péter Forgács
Péter Forgács | |
|---|---|
Péter Forgács | |
| Born | (1950-09-10) 10 September 1950 (age 74) |
| Nationality | Hungarian |
| Known for | art, film |
| Notable work | Private Hungary Series, El Perro Negro, Miss Universe 1929, Wittgenstein Tractatus, The Maelstrom, The Danube Exodus |
Péter Forgács (born 1950) is a Hungarian media artist and independent filmmaker. He is best known for his "Private Hungary" series of award winning films based on home movies from the 1930s and 1960s, which document ordinary lives that were soon to be ruptured by an extraordinary historical trauma that occurs off screen.
Biography
[edit]Since 1976 Péter Forgács has been active in the Hungarian art scene as media artist/filmmaker. In the late 1970s and '80s he collaborated with the contemporary music ensemble Group 180[1], at the same time he started to work in the Béla Balázs Filmstudio.[1] Forgács established the Private Photo & Film Archives Foundation (PPFA, 198
•
Péter Forgács
Biography
Hungarian film and video maker Péter Forgács explores the historical and the cultural via the private. In a series of works entitled Private Hungary, Forgács recontextualizes archival home movies and film journals from the past, transforming private documents of everyday lives into haunting narratives of twentieth-century Hungary.
Forgács' works merge drama and anthropology, documentary and diary. His reclamation of amateur home movies and personal rulle journals from the 1920s to the 1960s results in subjective histories of Hungary during war and Communism, outside of "official" history.
Inevitably infused with a poignant, often elegiac aura, these works also set in motion questions of the relation of the home movie to narrative cinema and documentary film. As these once highly specific documents of everyday life move from the private into the public sphere, their subjects become ghosts of the past.
Forgács has long been engaged in investigating alte