Kristóf Murányi

" The graphics of Kristóf Murányi demonstrates more than anything the
principle of the less is more - almost giving new meaning of this commonplace.

With his landscapes, still-lives and portraits reduced to primary
colours and forms he seems to experiment with the limit of the minimum of tools which is still able transmit the desired content. We can origin his crispy fresh graphics just as from pop art, as from Julien Opie's pictures and videos reduced to signs and logos; nevertheless we cannot have any post-feeling, since Murányi specially works with Hungarian flavours.

He lists Hungaricums in his works, but they of course are not
originated from the worn-out wrangler- goulash topic, not even familiars from the commercially well exploitable stuffy world of retro aesthetics, as they are not secondary fresh. Still the same familiar revelation marks his pictures: the typical standard fence of the railway crossing, the Ikarus buses, the scone baking kiosk or the functional aesthetics of the typical two-window tent-roofed houses.

So many Hungaricums, to which Hungaricum- natures in many cases Murányi's
graphics dawn on; which always grab the general in the individual. The aesthetic of the graphics already in itself suggests raising question toward modernism;
nevertheless the graphic designer is trickier than just simply pity the illustrated
objects, buildings and figures. The approach from the light humour is more stylish, as well as results a more complex reading. The increment of the humour also enables us to laugh at ourselves and at our emptied material world, has already filled the space with something.

Loffice at Paulay Ede Street provides home for the exhibition of
Kristóf Murányi.
The milieu combining the hip design and playfulness of the rentable
offices and meeting rooms is ideal for Murányi's graphics, which are organically completed with the wall scratches of Marcell Eszterházy. "