After speaking at the International Music Summit in Ibiza, the Budapest-based organizer reflects on Hungary’s shifting cultural landscape.
For years, László Papp has been a central figure in Budapest’s independent cultural scene, building rare connections between electronic music, contemporary art, and civic engagement. As the founder of Turbina Cultural Center, INOTA Festival, and NVC, and a key force behind Telekom Electronic Beats Hungary, he has helped shape and internationalize a distinctly Hungarian voice in contemporary culture. In recent years, however, this ecosystem has come under increasing pressure from state regulations and moral-panic policies. The so-called “war on drugs” led to the closure of venues like Turbina without clear evidence of wrongdoing, becoming emblematic of a wider struggle around cultural autonomy and freedom of expression in Hungary. Following the recent national elections that ended Viktor Orbán’s long rule, there is a growing sense that conditions may be shifting. Speaking after his appearance at the International Music Summit in Ibiza, where he joined the Electronic Beats panel on cultural responsibility and solidarity, Papp reflects on what this political moment could mean for Hungary’s cultural landscape and for independent scenes across Central Europe.
After years of state repression and emergency regulations that shuttered spaces like Turbina, how does the recent election result change your sense of what’s possible for Hungary’s cultural community?
Last weekend marked a powerful turning point, not only politically but culturally as well. In the lead-up to the election, the system did everything it could to secure its survival, often pushing beyond legal boundaries. This included the closure of cultural spaces like Turbina, justified through an artificially constructed “war on drugs” narrative. These measures produced no meaningful results. What they did produce was a strong and unprecedented reaction. The cultural community came together like never before.
You’ve often built bridges between art, nightlife, and activism. Do you think the new political landscape could finally allow independent culture to operate without fear, or is the damage already done?
For us, this change is especially significant. We have been building an independent cultural scene for decades, mostly in constant headwinds. Now, for the first time, there is a real opportunity not just to survive, but to evolve and level up.
At IMS Ibiza, you took part in an Electronic Beats panel on cultural responsibility and solidarity. How does that conversation relate to the victory of Péter Magyar and the changes it may bring?
The support around the closed venues clearly showed the social importance of these spaces. This became even more visible through major cultural moments: the concert at Heroes’ Square just days before the election, with more than 200,000 people, and the “More Techno to the Parliament” protest, which brought 25,000 people to the symbolic center of power. These events highlighted the strength, relevance, and political awareness of youth culture. In this new context, it is clear that supporting this scene is not only meaningful but also strategically important. The incoming government has already signaled that it will end rule by decree and, informally, that the targeted harassment of clubs will stop. This points toward a more stable and predictable environment for cultural operators. At the same time, I have started working with a network of around 100 Hungarian clubs and venues to build a shared alliance. The goal is to articulate our cultural value, represent our interests collectively, and engage in structured advocacy to make the scene safer and more sustainable. Hans Krestel: Turbina became more than a venue. It functioned as a community hub, offering art therapy, social programs, and activism. Do you plan to rebuild it as it was, or to reimagine it? László Papp: We have always been independent from politics. That was true before Orbán, during his system, and it will remain true going forward. I believe culture is stronger than political power structures. Governments come and go, culture stays. Throughout history, culture has created safe spaces even in the darkest periods. Attempts to control or block its organic flow ultimately fail. We will continue our work: keeping culture alive, supporting urban art, and protecting communities.
IMS Ibiza Panel by Telekom Electronic Beats: Dirk Edingloh (Electronic Beats), Ralf Lünsdorf (founder Electronic Beats), László Papp (Turbina), Marie Montexier (DJ), Basia Klaczak (Unsound), Jakub Kaczmarek (Universal Music Poland), Whitney Wei (moderator) and Claudia Jonas (Electronic Beats)
- Photo:
- Bastian Ibiza
Internationally, there has been a wave of solidarity for independent culture in Hungary. What kind of support actually makes a difference on the ground?
Hundreds of international artists and clubs shared our story, while platforms like Resident Advisor and Mixmag amplified it globally. Within Hungary, our independent communication reached nearly five million people without any support from state media. That meant almost half the country became aware of the constructed “drug-related closure” narrative and could better understand how the system operated. This shift in awareness played a role in changing public perception and contributed to a broader realization that change was necessary.
Hungary has long existed between East and West. Do you see these changes as a reintegration into European cultural life, or as a chance to develop something uniquely local, a new Budapest model?
Hungarian history often feels like a frozen moment, suspended between East and West. This tension is deeply embedded in our culture and identity. Orbán recognized this dynamic but responded with the wrong answers. You cannot sit at the table with forward-thinking people if you act as though you know everything better than everyone else. At the same time, integration does not mean losing your voice. It means understanding shared rules and contributing your perspective with confidence and clarity. Budapest has an important role to play in shaping a more diverse European cultural landscape, adding its own voice without losing its identity. A strong example of this is the INOTA Festival. INOTA takes place in a vast, abandoned communist-era power plant, an industrial utopia that lost its function. Renovation or demolition would have been unrealistic. Instead, with European support, we transformed it into an audiovisual art and music festival, something like a Tarkovsky-inspired industrial playground. It connects past and future, combining the ruins of a failed utopia with forward-thinking artistic expression to create something meaningful in the present.
