HAPPY 2010 !

may the worst of 2010 be better than the best of 2009.

NEW POSTS

A message from Iran: Dear designer, http://www.vitrinrooz.com/ is a Global Virtual Exhibition of Graphic Designers, which is currently exhibiting Mr. Istvan Orosz designs, Hungarian poster designer, graphic artist and an animated film maker. Please visit his show in VitrinRooz. (the virtual exhibition is in the first page from 5th of December till 23 of December).

Also the Fooding magazine arrived from Paris. It is the annual guide of the best restaurants in France with my cover and illustrations.

A message from David Macdonald creator of illusions using photography. He calls my attention to his new web site (let me call your attention too!) In this site he shows his own works, and examples of similar works or constructions by other artists too. (Among them my work).

XMAS TRIBAR

Christmas tree – on the basis of the “Tribar”. Homage to Oscar Reuterswärd and Roger Penrose. Most probably the best-known and “simplest” impossible object is the “tribar”.
It has been used so often in the visual arts, design, advertising, and even in fields of psychology, has become such a familiar symbol over the course of the 20th century, that by now it almost does not even enter our minds to inquire into its origin. Scholars generally refer to the unusual triangle as the Penrose Triangle, because it was the later celebrated mathematician Roger Penrose who published it first. In 1956, still a student, Penrose was introduced to the works of Escher at a show in Amsterdam, and under this influence, he began to draw “impossibilities”, and to dissect paradoxes from a mathematical angle. Penrose published the drawing of his triangle in the February 1958 issue of the British Journal of Psychology. Escher made his lithograph entitled Waterfall on the basis of the drawing. Penrose could not have known – moreover, at the time, nor could Escher, that a young man living in Sweden, Oscar Reuterswärd, who had engaged with impossible objects for quite some time; in fact, he had already invented and drawn the “tribar” decades previous. A quotation from Reutersvärd’s letter to Bruno Ernst: “In my Latin class (in 1934), I drew a few versions in the margins of my textbook. I tried to draw 4,5,6,7- and 8-pointed stars as precisely as possible. One day I drew a 6-pointed star, then joined cubes to its sides. I got a surprisingly interesting form. Then I added another 3 cubes, so that I could complete the figure as a triangle. Immediately I realised that what I had before me was a paradox.”

A MATH ARTICLE

Poem and poet from an anamorphic point of view
This is the title of the article published in an American math paper: Journal of Mathematics and the Arts. Abstract. Artists have many sources of ideas, just as they have a favourite medium. In this article, I describe how I used the work of Edgar Allan Poe as the source of inspiration for a mirror anamorphosis. I not only used his poem The Raven but also his essay The Philosophy of Composition to guide my creation process just as he did for the poem.
Keywords: mirror anamorphosis; art with double-meanings; geometry of perspective; visual art and literature; Edgar Allan Poe; The Raven.
You can read the full article in the web here.
My old math teachers in Kecskemét would be surprised. Let me dedicate it to them: Kun Gergelyné, Tóth Imre, Vass Gyula, Sárkány Ernő, Kalmár Sándor... and the first one: Sárika néni, thanks.

EXHIBITION IN SZÉKESFEHÉRVÁR

Posters by István Orosz
Székesfehérvár, Szent István Király Múzeum, Rendház, Fő utca 6.
5 December, 2009 - 7 March, 2010

POSTER SHOW IN LJUBLJANA

LECTURE AND SHOW IN SLOVENIA

17 – 18 November: “EMZIN Visual Communication Seminar” in Kino Siska centre for Urban Culture (Trg Prekomorskih brigad 3) in Ljubljana.
Participants: Art Chantry from USA, Finn Nygaard from Denmark, Declan Stone from Amsterdam and István Orosz from Hungary.
My 3 hours lecture will begin on Wednesday, at 2pm. In the next day will be the opening ceremony of my poster show in Galerija Avla NLB, Trg republike 2. (The previous exhibitor was Milton Glaser.) Opening on Thursday, 19 November at 8 p.m. The exhibition will be on view from 19 November 2009 to 14 January 2010. The gallery is open every workday from 8 a.m. to 6 p.m.For more information and for registration visit the website of Kino Siska.

ISTANBUL

AGI conference in Istanbul. The theme of the conference is “Beauty of Chaos”. The organizers write: this title represents the cultural cosmopolitism of Istanbul. I live with Anna in a hotel of Istiklal Caddesi that is the main shopping street of Galatasaray district. Well, this street is the embodied Chaos itself with vivid atmosphere and 24 hours trafic jam. The conference was held in the Mimar Sinan Fine Arts University located on the European coast of Bosphorus. Some of the speakers: Jeffrey Fisher, Marian Bantjes, Nancy Skolos, Alex Jordan, Vladimir Chaika, Michel Bouvet, Stephan Bundi, Henry Steiner, Peter Till .... This photo was taken at the opening coctail of "Unplugged Faces" exhibition at Milli Reasürans Gallery.

MAR DEL PLATA

"Becoming famous in South America does not make one any less unknown.” (Jorge Luis Borges) My lecture was about the relation of time and space in posers. I described them as the genre of “hic at nunc”. Posters are on the point of intersection of time and place, they are said to be the art of “here and now”. The message of a poster concerns with only one particular moment: it would be meaningless in an earlier time and would be invalid after the announced event as it does not make any sense in other places. During the lecture a collection of my works were projected where the above mentioned kind of Time-Space-Poster intersection was dominating.
I am ready to admit that some of my posters in a sense have never been real posters at all. They do not fulfil their function if we expected them to be commercial posters and they are not sufficient applied graphic works if we expected them to compliance with clients. But I would like to believe that they begin to talk if we are interested in the age, in the world that was given to us to live in, if we should like to know how ideas were coming and going among the different fields of culture, how a theatre-message was communicated by the means of visuality, how literature was written further in the language of fine arts, and how the originally subordinate idea has become independent, equal and may be personal. If these poster-graphics had message, probably they will have it too, apart from borders and periods.

A message from Fort Collins CO (US), from the Award Ceremony of the 16. Colorado International Invitational Poster Exhibition (CIIPE 2009). The winners : first prize - Uwe Loesch (Germany) for Requiem, second prize - Ralph Schraivogel for emnants of Zurich Interiors, third prize - Leonardo Sonnoli (Italy) for 15, honorable mentions: István Orosz (Hungary) for IRAN, Luba Lukova (USA) for Health Coverage, Miroslaw Adamczyk (Poland) for Maria Stuart, Melk Imboden (Switzerland) for Rivera-Kahlo, Yuri Gulitov (Russia) for Calligraphy, Francois Caspar (France) for Louise, Savas Cekis (Turkey) for War & Peace

INVITATION to TMDG

My dear friends of the other hemisphere, please come to Mar del Plata. TrimarchiDG is the largest gathering of design in Latin America and brings together thousands of designers around the world. The event tooks place every year in Argentina. Two young designer, Seba and Pablo had started 8 years ago. As they wrote in the invitation letter more than 5000 designers are attending to each lecture actually which is... lovely.
Participants include David Carson (USA), Area 3 (ESP), Zalma Jalluf (Arg), Alex Trochut (Esp), Juan Pablo Cambariere (Arg), Collettivo (Bra), István Orosz (Hu), The President (Afr).
My lecture will start on Saturday (3rd of October) 19:15. In the next day my workshop will begin at 10:00.

POSTER WEEK-END IN ESSEN

Plakat Kunst Hof Rüttenscheid Fest 2009 from 18. – 20.09.2009 Essen, the "secret" capital of poster art in Germany. Since twelf years two museums of Essen, the "Plakatkunsthof" (Poster-Art-Yard) and the Deutsches Plakat Museum (German Poster Museum) award together the INTERNATIONALER PLAKATKUST HOF RÜTTENSCHEID PREIS (International-Poster-Art-Yard-Rüttenscheid-Prize) for the lifework of an international well known poster designer. In this year the prize was given to Allain Le Quernec. His exhibition was opened in Grillo Theater, and as usually, all the former „preistragers” were invited to the celebration and a lot of guests. As you can see in the photo Feliks Büttner (GER), Istvan Orosz (HUN), Kari Piippo (FIN), Niklaus Troxler (SUI), Alain Le Quernec (FRA), David Tartakover (ISR), Uwe Loesch (GER), Sandor Pinczehelyi (HUN), Sadik Karamustafa (TUR), Viktor Seroneit (PKHR), Ben Bos (NED), Waldemar Swierzy (POL), Melk Imboden (SUI), Rene Grohnert (DPME), Miecz Wasilewski (POL) Rene Wanner (SUI) were there.

ILUSIONARIO

The Virtual Museum of Optical Illusions (established by Juan Luis Roldán) shows a lot of my works. The current on-line exhibition of the museum is about the "Skull Optical Illusions". The metamorphic skull has always been one of the most popular optical illusions. From the 19th century, artists and designers have been using this kind of image in postcards, comics, posters, advertisements or covers. Among more than fifty examples you can see the works of Charles Allan Gilbert, Bernhard Gutmann, Salvador Dalí, Octavio Ocampo, István Orosz and Norbert Jung. The exhibition is opened for visitors from August 2009 till July 2010. The show is on-line, but the catalogue is real. (The enclosed illustrations - and about hundred more etchings were made ... and will be made... for the new Hungarian/German edition of the book by Sebastian Brant: The Ship of Fools. You can see more illustrations here, or in the Hungarian Utisz blog.)

















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And two more death's heads.
After the launch of his last book "Make your own 3D Illusions" featuring one of my anamorphosis illustration, Gianni A. Sarcone published a new book on vintage and antique illusions in which he presented two of my skulls from the Narrenschyff. Title of the book: Curiopticals. (Carlton Books)

LOOK UP TO HIM!

Homage to Shigeo Fukuda – 76 designers for his 76 years – that is the title of the new exhibition organized by the BICeBé (Bienal Internacional del Cartel Bolivia).
You can find my poster in the online version of the show:
I past here the photo of the poster viewed from an unusual (anamorphic) viewpoint. The distorted letters are readable only from bottom-view – so the message of the poster: look up to him!

There will be an other memory exhibition homage to Fukuda with about fifty invited artists. It will be a travelling show organized by Kriska Rudzinski’s Taidejulisetgalleria in Helsinki. Here is the poster I designed for that show.

KARI

AN INVITATION TO PÉCS AGAIN
Pécs Little Gallery presents the posters by
KARI PIIPPO
(30 YEARS = 60 POSTERS)
31. 07. 2009 – 23. 08. 2009
Official opening Friday 31st July 5pm
Opening speach and presentation of the exhibition by
István Orosz graphic designer, professor of the West Hungarian University

Graphic designer Kari Piippo (1945) lives and works in Mikkeli Finland. He is a member of Alliance Graphique International (AGI). Kari had been chosen to exhibit in Pécs as the winner of the last years’ Posters/Plakátok International Competition in Pécsi Gallery.
http://pecsikult.hu/en/events/show/36955/exhibition-of-kari-piippohttp://www.piippo.com/kari/
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Kari says when Einstein had realised that the universe and all its wonders may be written down in one formula: E=mc2 he didn't stop but began thinking which type, Futura or Antiqua, would it be more appropriate to put down in. Mass-energy equivalence might have been given and explained more complicatedly but it is because of its inner grace that the formula is so charming and probably this beauty hidden in its simplicity is exactly what makes it embraceable, understandable for many of us.
Rightly so with posters. Real posters, Kari Piippo posters. They are manifestations of the only formula, which is simplified to core and incompressible. Indeed, their secret lies in their toollessness. They begin where words end. I am glad to open the exhibition of Kari Piippo, great artist and good friend, however I understand the difficulty, the inner dissolvable paradox of the venture. Can we talk about visual communication? May we? Should we? I have certain experience in expressing myself when I'm in another medium and sometimes I even teach my poor students how to talk about pictures, translate the message; but practice is different. Imagine how awkward it'd be to explain Kari's 1986 Piaf poster. The weak tower of letters, bound to fall, under lights, the waving, quitting letter A all stand for both the glitter of the stage and the singer's personal tragedy what's more, for some weird reason, I am inclined to hear the weary, scratchy sound of chansons, too. Another major work, also displayed here, is a theatre poster for The Visit by Friedrich Dürrenmatt. We may be able to put together reasonable phrases about the symbol of the black panther thrown over the shoulder or the skill by which the outline of a positive figure rips the silhouette of a negative form, but what should we say about the way the only agressive colour of the poster, the red of the lipstick captures and holds our gaze and evokes the play's absurd tragedy immediately, even 20 years after. We would have to recite the tragic life of Willy Loman, Arthur Miller's salesman, if we wished to substitute the poster's brick-heavy suitcase with words, just as we could only stand at the edge of the Hamlet poster's H-shaped grave having all the letters of "to be or not to be…" written down a hundred times and memorised. Indeed, one accurately drawn line, good choice of colour, sensibly placed form might stand for hundreds of words, sentences. Very often, however, we can't succeed even with the myriad of words.

INVITATION

In the framework of the Pécs – Ars GEometrica 2009 project, the Pécs Cultural Centre cordially invites you on Thursday, 18 June 2009, 7.30 PM to the Museum of Dom to the Opening of István OROSZ's Exhibition – 'Lessons on Semblances'
Opening by George W. HART research professor of Stony Brook University, New York. Johann Sebastian BACH: Little Harmonic Labyrinth – performed by Mrs. Katalin POÓR GÁL organist.
The exhibition is open 18-29 June in the Museum of Dom (H-7621 Pécs, Káptalan u. 8.).
Information: fenyvesi.kristof@pecsikult.hu

HOMMAGE TO ALFONS MUCHA

International Poster Exhibition "Hommage to Alfons Mucha". Connected to the temporary exhibition of the Hungarian Museum of Fine Arts and organized by The Hungarian Poster Society.
The participants: Árendás József, Bakos István, Balogh István, Baráth Ferenc, Darvas Árpád, Ducki Krzysztof, Felvidéki András, Gyárfás Gábor, Kapitány Attila, Kemény György, Keresztes Dóra, Kulinyi István, Lance Rutter, Orosz István, Pinczehelyi Sándor, Pócs Péter, Szilvásy Nándor, Szugyiczky István, Tóth Tamás, Varga Gábor Farkas, Yann Legendre.
Vernisage: 27 May (Wednesday) 2009, 6 pm. On view until 15 June, from Monday to Friday between 9 am and 5 pm. Polish Institute - Exhibition Hall, Budapest, VI. Nagymezo u. 15.

TRIP TO POLISY

After the Poster Festival I left Chaumont for Polisy. There is the chateau of Jean de Dinteville, the French king, France I’s ambassador to the London court of Henry VIII. He could have been dropped out of history a long-long time ago if it had not been for Hans Holbein Junior’s painting that immortalized his figure. The famous table of the London National Gallery, The Ambassadors was commissioned by Dinteville himself whose figure on the left appears to be more important than the other one on the right. This elegantly dressed young man whose energetic posture and self-confident look show that his optimism is honest and his dynamism is catching so they are not only for the elegance of courtiers recommended by count Castiglione’s well-known book all over Europe, Il Cortegiano. The painting is precisely dated by Holbein: April the 11th, 1533.
Also another painting commissioned by Jean de Dinteville was hunging face-to-face with The Ambassadors in the salon of Dinteville’s chateau in Polisy. Now it is in the New York Metropolitan Museum. The size is the same as The Ambassadors and its signature is IOANNAES HOLBEIN 1537, too. The title is Moses and Aaron before the Pharaoh. It shows the scene of the Old Testament where Aaron throws his staff and it becomes a snake when Moses and his brother ask the Pharaoh to let the Jews free (Exodus 7, 8-12). The main characters of the so-called “acting“ picture are well-recognizable since their names are painted on their garments: Moses is Dinteville, the melancholic ambassador of Holbein’s other painting, Aaron is displaced by Francois Dinteville, the brother of the latter and bishop of Auxerre. Behind them Guillaume and Gaucher are standing. The fifth figure of the painting, the one with a melancholic face and moustache, may be the evoked character the fifth Dintville brother, Louis, who was not alive in 1537 when the painting was dated. Holbein himself also appears in his painting: he stands at the left side, as a fairly covered staffage-figure, only his face is visible and it seems as he is seeking eye contact with the viewers, he has a calm look like every painter who turns up in his own picture pointing out his outsider feature. However, Holbein usually did not paint himself into his pictures. He did not do it this time either since it is surely not his work. The quality of the painting falls behind the German’s. Seeking Dinteville’s secret, it has to be found out that who and why did he asked for this “Holbein-like” painting. For what purpose did he find it important to depict the painter’s portrait apart from his signature on a fake painting? If I could arouse your interest, please see more details about the secret of the paintigs, the hidden anamorphosis of The Ambassadors, the chateau of Polisy in the Hungarian blog: http://utisz-utisz.blogspot.com/ (Look for the note of May 19) or read my book: A követ és a fáraó. (Typotex Publishing House, Budapest).

POSTER FESTIVAL IN CHAUMONT

Festival International de l’affiche et des arts graphiques de Chaumont - this year is the 20th anniversary. Some years ago I was here to lead a student workshop, and in 1994 I got the ICOGRADA Prize of the Chaumont Poster Competition.
The festival brings together professional artists, design historians, journalists and student designers for workshops, exhibitions, and of course the international competition with more than 2000 entries from 46 countries.
In the previous years, a French graphic designer was asked to design the Festival poster. Now after twenty years twenty artists were invited to do the same. The international cast includes: Paulina Matusiak (the Netherlands); Piotr Mlodozeniec (Poland); Christoph Niemann (USA); Alexandra Noth et Megi Zumstein (Switzerland); Istvan Orosz (Hungary); Pony Ldt (United-Kingdom); Reza Abedini (Iran); Isidro Ferrer (Spain); Haichen Zhu (People’s Republic of China); Jan en Randoald (Belgium); Rodovan Jenko (Slovenia); Dima Kavko (Russia); Alejandro Magallanes (Mexico); Shin Matsunaga (Japan), R2 Design (Portugal); Claudia Roethlisberger (Switzerland); Leonardo Sonnoli (Italy), Thonik (the Netherlands); Vanessa Verillon (France); Henning Wagenbreth (Germany). Also they gave a short lecture about the actual poster.

A poster designer, if he is old enough and works long enough in his profession, suddenly realizes that the motives in his posters are not necessarily brand new even if he wants to make his best and more and more elements seem to be familiar from the past. Polite art historians then say that these elements are from the artist’s autonomous artistic world, while the young generation is likely to frown and may demand a more up-to-date approach.
My poster designed for the Chaumont Poster Festival shows a man without a head sitting back to us in a garden labyrinth and he is drawing his own head, or rather his own brain onto a paper pinned on a drawing board. The similarity between the paths of the maze and the loops of the brain makes the picture somewhat interesting.
When I was asked to talk about my poster, it seemed evident to look for the antecedents of these motives and how they were used in other contexts and also to show you some of the my older work where these elements are there.
There were six topics I had to take into consideration and I tried to find the symbolical meaning of the motives and to be honest, I did find some long forgotten “new” things.

One, a man with his back to us.
Two, a man without a head.
Three, men or hands drawing themselves.
Four, mazes in general.
Five, garden labyrinths.
Six, labyrinth and head together.

A GARDNER

I just got the book of Mathematical Wizardry for a Gardner, edited by Ed Pegg Jr, Alan Schoen, and Tom Rodgers. "A gardner" is nobody else but Martin Gardner, the 95 years old "mathemagician" and science writer. Gathering for Gardner (g4g) conferences are held every two years in Atlanta. Conference activities include lectures, exhibitions, performance art, puzzle and book displays magic acts, and many more informal opportunities to mix with people who share a interest in Gardner's work. I participated in g4g7 in 2006 with a lecture and with an exhibition. In the book you can find my lecture: ...Nothing but Confusion? Anamorphosis with Double Meaning.

LECTURE IN VIENNA

István Orosz: Our Point of View, or Anamorphoses as Oddity of Perspective.
Lecture, Exhibition and Animations in Peter Bornemisza Society.
Sunday 10th May 5:30 pm
Location: 1010 Wien, Capistrangasse 2/15

GRAPHIC DAY

Today is the World Graphic Day. 27 of April is the anniversary of the founding of Icograda, the world body for graphic design (1963). It is a day to celebrate the profession of graphic and communication design.
Let me see what is on: I just received the catalog of the exhibition in Mexico selected and organized by Xavier Bermúdez: 120 carteles de finales del siglo XIX a principios del siglo XXI. See more here: http://www.bienalcartel.org.mx/expo_siglo_XX/galeria.htm
All The Art That's Fit To Print (and Some That Wasn't): Inside The New York Times Op-ed Page - this is the title of a new book edited by Jerelle Kraus and containing some of my illustrations. Yesterday was the opening of the VIIth International Triennale of environmental posters "4 - Block" in Kharkov (Apr 26 - May 03). There is a poster show in the Kunstmuseum in Cottbus: Humor – Plakate aus aller Welt. (8 April – 28 June) – the catalogue arrived some days ago with my two posters....and my exhibition in Budapest (Gaál Imre Gallery) closed yesterday.

MOVING MOEBIUS STRIP

The exhibition of the INTERNATIONAL KEPES SOCIETY was opened today by Ernő P. Szabó in Gallery A22 (http://www.a22gallery.com)/
Some participants: BLEYENBERG Michael, BORTNYIK Éva, TUBÁK Csaba, CSÁJI Attila, F. FARKAS Tamás, HARIS László, HARASZTY István, KALMÁR János, KUCHTA Klára, LAUREMA Esa, LUX Antal LUGOSSY Mária, MATTIS-TEUTSCH Waldemar, MENGYÁN András, OOSTERHUIS Kas, LÉNÁRD Ilona, PÓCSI Ferenc. I exhibited the enclosed Moebius strip as endless animation. (You can see an other version of it in the elevator of The Escher Museum in The Hague: http://www.escherinhetpaleis.nl/)

ANIMATIONS

A selection of my short animated films will be presented at the Gaál Imre Gallery tomorrow at 5pm.
Among others you can see Mind the Steps, Time Sights, Black Hole-White Hole and the new one: Mazes.
Also you can visit my exhibition at the same place, which will be opened till 25th of April.
Location: 1203 Budapest, Kossuth Lajos utca 39.
If you miss the films, you may see this site: http://www.youtube.com/watch?v=vD3qgSY5MPI&NR=1

FRANK'S GALLERY

The remains of the Orosz exhibition in Melbourne was transported from Glen Eira Gallery to Jackman Gallery (60 Inkerman Street, St. Kilda, Melbourne). The works will be exhibited there in the next three weeks. http://www.jackmangallery.com.au/home.html
The owner of the gallery is Frank Malerba a great painter. See his works here: http://www.frankmalerbacontemporaryart.com/home.html
Thank You Frank:-)

LONDON AGAIN

On my way back from Australia before changing to the Budapest plane, I spent some hours in London and visited the Picasso-exhibition and of course The Ambassadors replaced to their original spot in the National Gallery (see the note of 9th of December 2008).
The Picasso exhibition (Challenging the Past) in the Sainsbury Wing is about the relationship of Picasso to the tradition of Western art. He painted many variations on well known works of European painting by Delacroix, Pussin, Manet, etc. In 1957 He produced more than 50 variations of Las Meninas by Velázquez. The first and largest piece of this series is exhibited too. A1! It is a pity that the original paintings that inspired Picasso are not here. May be Las Meninas is not borrowable from Prado?

Here is my variation of Las Meninas: My Meninas.
BAD ARTISTS COPY, GOOD ARTISTS STEAL (PABLO PICASSO)

NOTE FROM AN AUSTRALIAN INTERNET CAFE

At the last week I was in Melbourne. The exhibition in Glen Eira Gallery was rather popular: thanks to John and Esther there were as many visitors as in a regular show in Hungary - or may be more. Here is a short part of Jeff Makin's article in the Friday Herald Sun (Etch to his own): Apart from Orosz's technical virtuosity as an etcher these prints are, in so many ways, art about the making of art. Perspective is often reversed. Inside becomes outside. Roads and mazes turn in on themselves. The end becomes the beginning in a sort of pictorial Groundhog Day. There are over 50 etchings, plus posters, in this exhibition. It comes at a time when there is a great resurgence of interest in realism and figurative metaphor on the local art scene, and should therefor prove to be quite influentiallast sentence.
And the last sentence: Unfortunately this exhibition is on for only a week, so be quick! In this week I am in Sydney. I am here to visit some exhibitions: Archibald Show in Art Gallery of NSW, Yayoi Kusamas show entitled Mirrored Years in MCA and I Walk the Line/New Australian Drawing also in MCA.

EAR OF WHEAT AND NAIL

In the Eastern Bloc, the hammer and sickle of the Soviet flag are popularly known to be the tyrannical symbols. According to these symbols, the suppressed could be represented by the emblem of an ear of wheat and a nail. (In the eighties, I had a posterdesign – of course it could not made to be public – where, there were a torn ear of wheat and a bent nail in the shadow of the hammer and sickle.) After the political shift known as the change of system, the former losers could not join but turned against each other: my new poster ordered by a Berlin design studio shows the nail piercing the ear of wheat.

PERSPECTIVE MACHINE

Albrecht Dürer (1471-1528): An image of an artist drawing a nude woman through a perspectival frame.
From Underweysung der Messung (Instructions on Measuring), 1525 Woodcut

And here is the same situation from another point of view that is the viewpoint of the artist. What is he seeing through the apparatus?

A TEARDROP FOR STAROWIEYSKI

Franciszek Starowieyski, one of the greatest figures of international poster design died on the 23rd of February. The Polish artist was particularly important for the Hungarians, as well. One of the posters of the 26-year old designer, The Crying Dove Of Peace mourned the 1956 Revolution of Hungary. He printed the lithography in hundreds of copies and put on the streets and squares all over in Warsaw. In Poland and maybe also worldwide, The Crying Dove Of Peace became the symbol of the crushed Hungarian revolution. Done with the postering, Starowieyski left for Budapest to fight with the Hungarian students against the Soviet tanks, but in Czechoslovakia, he was arrested by the police during an identity check and was made to return.
Drop a tear in memory of Starowieyski!The Hungarian graphic artists sent drops of tears to Krzysztof Ducki, the Polish-Hungarian poster designer, who compiled the following poster out of them in memory of Franciszek Starowieyski: http://posterpage.ch/div/news09/n090227.htm