Murányi categorizes “anti-Hungaricums,” the kinds of things no tourist agency would likely showcase in their windows as symbols of the country’s image. However, to us, a distinctly Hungarian “make-do world” immediately comes to mind, one that faltered during the late Kádár era and the period of regime change. In these objects, still lifes, interiors, and exterior settings, collective codes and unstudied gestures emerge that only we can fully understand, to use a pre-1989 turn of phrase, from Battonya to Nemesmedves. — Kéri Gáspár
He graduated in graphic design from the University of Applied Arts. His work focuses on phenomena rooted in the past yet still resonating today, exploring their impact through the visual language of graphic design. The series presented here, titled Unnecessary Advertisement, reinterprets everyday objects and utilitarian items from this perspective, casting them in a new light while recalling the aesthetics of classic advertising graphics.
