Hungary After the Election #2: A Chance to Reshape Hungary’s Cultural System

Hungary’s historic 2026 election brought an end to Viktor Orbán’s 16 years in power, as Péter Magyar’s TISZA party won a two-thirds parliamentary majority. For many, the result marks the end of a long political era, while also opening a period of major uncertainty about what change will look like in practice. In this context, we were curious to hear how local cultural professionals see this moment, and what they hope it could mean for Hungary’s cultural sector.

Tamás Don is a Hungarian curator, writer, and educator working in contemporary art. Since 2018 he has been a curator at MODEM in Debrecen, where he has served as chief curator since 2021. His work focuses on the social, historical, and institutional contexts of contemporary art, alongside a strong interest in art pedagogy and the position of emerging artists within the art system. He has also developed several independent curatorial projects and has been involved in initiatives such as the Küszöb Festival and the Vanishing Point series. Don teaches at the Hungarian University of Fine Arts, where he is currently pursuing his PhD.

I began my university studies in 2011, so my professional socialization coincided with the dismantling of Hungary’s contemporary visual arts institutional system. Despite this, I consider myself fortunate, because for more than eight years I have been able to work for a public museum, the MODEM in Debrecen, where we have been able to create relevant contemporary art projects. At the same time, what is noticeable at every level of the institutional system—from universities and non-profit galleries to major institutions—is that funding opportunities have become increasingly limited, and it has become ever more difficult to secure the proper financial and infrastructural background needed for high-quality professional work.

One of the most important steps would be the creation of an independent Ministry of Culture operating on a professional basis, capable of coordinating the cultural sector as a whole at a strategic level. Such an institution could ensure a long-term, predictable cultural policy. It is important that the ministry have a long-term cultural vision that sets priorities and funding frameworks several years in advance. The first step toward this would be to involve qualified professionals in the ministry’s operation.

In addition, it will be crucial to address the position of the Hungarian Academy of Arts (MMA), which was entrenched in the constitution by Fidesz and has received vast amounts of public funding over the past sixteen years. It would be essential to reallocate part of the financial resources concentrated within the MMA, making it possible to support a broader and more pluralistic professional environment that better reflects the diversity of contemporary art.

Similarly, reform of the National Cultural Fund (NKA) is also very important. In restructuring the NKA’s decision-making system, the proportion of independent professional actors should be increased, while the influence of the MMA should be reduced. The grant system must be made more transparent, predictable, and accessible, with particular attention to young artists and smaller organizations.

It would also be decisive for Hungarian contemporary culture as a whole if we could reduce Budapest’s hegemonic position. It would be essential to develop the cultural role of larger provincial cities through a well-considered medium-term strategy.

It could be a chance to change the structure of the cultural institutional system and create one that distributes funding fairly and transparently, operating not according to ideological considerations but on the basis of professional quality. It is an opportunity for Hungary’s progressive art scene to reconnect with the international professional community.

For Dutch partners, it is important to understand that building international collaborations is of outstanding importance for Hungarian cultural institutions. In many cases, individual galleries, museums, and theatres barely have enough funding to keep their institutions running, so they are constantly forced to economize on professional programming. With the support of foreign partners, however, they are able to compensate for some of these missing resources.

Such relationships not only make professional development possible, but also contribute to strengthening cultural dialogue. It would be beneficial for both countries to establish a medium-term framework for cooperation. Within this, Hungarian cultural professionals and artists could travel to the Netherlands for short professional visits or longer residency programmes. In return, Dutch professionals could come to Hungary for well-organized professional programmes, creating opportunities for exchange of experience, the development of joint projects, and the establishment of long-term partnerships. I speak from experience, because a few years ago, through the Mondriaan Fund, three Hungarian and three Polish colleagues and I took part in a short professional study trip to the Netherlands, which proved to be both highly inspiring and very useful.