Born 30 August 1952 in Devecser. He spent his childhood in Kolontár and Ajka. Since 1966, he has been linked to Veszprém. Originally, he prepared for a technical career – and his technical-engineering interest and pleasure has remained ever since – but in the early 1970s he began to engage intensively in photography. Film made a big impact on him, as a possibility for visual expression; in particular, the vision – philosophy – sense of life of Antonioni’s Blow-Up. (In part, he produced his self-portraits and portraits of models in night-time parks under its influence.) In the 1980s, as the head of the advertising and video department of a county company operating cinemas, he edited and designed many film publications and periodicals.
Since 1976 his works have featured in solo and group exhibitions in Hungary and abroad. From 1978 to 1983, he was a member of the Studio of Young Photographers (FFS), where he had the possibility to make his photos according to his own, individual conception. His novel works often entered the crossfire of theoretical and professional debates, but they soon found their way among representatives of the progressive Hungarian and European art trends.
From 1979, he was the founder and initiator of the Dokumentum (Document) exhibition and publication series launched in Veszprém, among whose first authors were János Szerencsés, János Vető and Gábor Kerekes. Also in 1979, within the framework of the “Prix Air France – Ville de Paris” scholarship, he photographed Paris, where he received the award of the Mayor.
In his works between 1979 and 1982, he typically engaged with the basic elements of photography: with light, time, and the space defined by the negative plane – and with the contingency of these.
In his Budapest “cityscapes”, Jokesz recorded the random nature of the relationship of the space, time and exposition.
In 1983, he became a member of the Hungarian Association of Photographers.
In 1999, his volume of photographs and essays, entitled A preparált idő nyomában [In the Wake of Prepared Time], was published, in which he offers a sage and lyrical summary, in words and images, his career up till then.
Over the last decade, he has engaged primarily in the linguistic and mediatised properties of renewed visual technologies, and the realisation of numerous publications, thematic exhibitions and symposia are associated with his name.
The modified versions of his earlier, well-known photos, transformed with hand-colouring and digitalisation, were shown in 2003 in Budapest at the Műcsarnok/Kunsthalle and at Vintage Gallery, as well as in many European cities since then.
In an interview in 2011, this was how he characterised his own work: “…my pictures reflect on the visual medium itself, and on their actual changes, in such a way that at the beginning of my career they would have been uninterpretable. I am simply just a contemporary artist, who produces pictures with various processes, principally perhaps from the starting point of a visual artist”.
Jokesz’s work was recognised by the state in 2002 with a Balogh Rudolf award.
His works are found in many public and private collections: among others, the Hungarian Museum of Photography, Kecskemét; Lackó Dezső Museum, Veszprém; Institute of Contemporary Art – Dunaújváros; the Collection of Ferenc Karvalits, and the Körmendi-Csák Collection of 20th Century Hungarian Photography.