The samizdat periodical titled Sznob International [Snob International] had six issues altogether from 1981 and 1984 (?). The original copies can be found in the Artpool Art Research Center. They were displayed at several exhibitions (TTT [banned, tolerated, supported] Collection from the Artpool Archives, 27-28 October 2000, Almássy Square Leisure Center, as part of the Small Trip Festival; Type writer, 3 December 2000 – 31 January 2001, Galeria Centralis; exhibition linked with the conference titled Underground art and alternative publicity, 8-9 November 2002, Pécs).

The publication was launched by Tamás Papp, and he worked with a new editorial team for each issue. The first three issues were printed with the title being spelt as Sznob Internacional, which was changed to Sznob International in the last three issues.

The earliest issues focused on the international and Hungarian underground music scene. The first and the third issues contain articles about and interviews with the emblematic personalities and bands of the new wave and punk - David Bowie, Brian Eno, The Residents, The Cure, as well as translations of articles published abroad about issues relevant to this subject and essays by János Gémes (Dixi), Mihály Víg, János Vető, Attila Csányi, Gábor Klaniczay and László Najmányi.

The second issue was a thematic edition paying tribute to the first Hungarian punk band, the Spions, and containing lyrics, contemporary documents about the band, archive photos taken at concerts and texts by the band’s founder, Gergely Molnár.

The last issue, the exact date of publication of which is unknown, was compiled from the letters of Tamás St Auby, who lived in Switzerland at the time.

The fourth issue was devoted to Tibor Hajas, with its date of publication being 1982. This volume has two versions: in one of them Hajas’ article titled Sidpa Bardo is accompanied with illustrations by Júlia Szaniszló. The cover of this version was also published in the book by Gábor Demszky-László Rajk-Edit Sasvári titled Földalatti vonalak [Underground Lines] (Jelenkor Kiadó, 2000. P. 27). This issue of Sznob International differs from the rest in that it was made with another technology and the design is new too. The other version, however, clearly fits in with the earlier issues. It is illustrated by Tibor Hajas and János Vető’s works, and besides Sidpa Bardo it also contains Hajas’s writing titled ‘Vihar a húsban’ [Storm in the Flesh]. No answer can be found in the original issues to the question why another version was made, so further research needs to be carried about in that regard.

Sznob Internacional/International and similar samizdat art publications from the 70s and 80s are important documents of the Hungarian underground scene of the period. They are uniquely outstanding in the sense that most of the writings and source material they contain have not been published to wider audiences ever since.

Csilla Bényi