EUROPA

I drew this map of “isolated” Hungary a few years ago at the request of a German magazine. The new version of the image differs in that ship routes marked by dotted lines crisscross the sea surrounding the country, and the city names are different from those on the original map.

My second drawing appeared on the very first cover of the magazine Országút, which was launched six years ago, in 2020. I wonder what readers at the time saw in it? Perhaps that our country’s future can only be outlined in tandem with Europe’s? Or did the concept—which later became established as political policy—already emerge, namely that dependence on Europe inherently hinders our independence? And what, then, is the new government’s vision? Do they have one, and if so, will they possess enough wisdom, foresight, and tact to embark on its realization with the hope of success? 

A QUICK MORNING INTERVIEW

– Hello. It’s been quite a while since we last talked.

– Hello. I’m at your disposal.

– I was surprised to discover online—while browsing through the events of the Hungarian election campaign—that the leader of a party preparing to take power is posing in front of a poster made 37 years ago. The very same poster that became famous during the 1989–90 regime change. You designed that poster, and the winning party, the Hungarian Democratic Forum, owes no small part of its victory in the first free election to it. Were you aware of this?

– Yes. I was surprised to see it too.

– If you were surprised, then obviously the party leader isn’t using the poster with your knowledge—let alone your permission.

– That’s correct.

– Then I suppose all this must have happened with the permission of the MDF, the party from the 1990 transition.

– I doubt that, since that party no longer exists. The MDF dissolved a long time ago.

– I see. Let me ask you one more thing: do you think it’s possible to change a political system twice using the same poster?

– I’m not aware of anything like that ever happening before.

– In any case, it’s odd that a party which, according to polls, enjoys strong support is unable to come up with its own poster. Certainly not one as iconic as yours.

– Maybe it’s not that strange after all—considering that the party’s logo is plagiarized as well.

– That’s true. One would expect a new party—one that didn’t even exist two years ago, and is trying to appeal to young people—to come up with a fresh, new, modern visual identity. The fact that they don’t have their own distinct visual style—could that suggest they don’t have a distinct cultural or even political identity either?

– There’s some logic in your question, I’ll admit—but drawing that conclusion from a reused poster and a dusted-off graphic emblem is a bit of a stretch, don’t you think?

– I admit it is, but I’ll take the risk. Mainly because I’d like to finally provoke your opinion.

– We’ll soon see how far they get with this retro image. The outcome will be instructive for me as well—far beyond the current political issue.

– Thank you for the conversation. Have a nice day.

– You too. Goodbye.

 Klick here for more!

 

IRAN

More than two decades ago, in 2005, I drew the attached illustration to depict the political tension of the time, commissioned by the famous American magazine The Progressive. Now, for some reason, it came to my mind again.

IN PARIS - WITH ESCHER

 

A friend of mine in Paris sent me a message saying that she had seen my work at the major retrospective Escher exhibition at the Monnaie de Paris museum. Alongside the master's works, the exhibition also featured pieces by several artists who can be considered precursors or successors of M. C. Escher. Piranesi was there as a predecessor, Reutersvard as a contemporary, and I was there as a successor with my work Stairs. Since the exhibition, which has been open since November, will only be open until March 1, I had to hurry. I was really surprised by how many people are still interested in Escher today. The gatekeeper threw up his hands: all tickets had been sold in advance. I was forced to admit that I also had something hanging in one of the rooms, so I was lucky enough to get in after all. The Stairs (sometimes also exhibited under the title Time Sights) was transferred to the Paris exhibition from the Maurits Collection in Italy. It seems that I have several pictures in the Maurits Collection, at least according to the information on the Internet. I am also attaching The Corner House. 

NEW YEAR WITH DAILY HELLER

"The Daily Heller" is a long-running column by renowned design critic, author, and former New York Times art director Steven Heller, published regularly in *PRINT* Magazine and on Instagram. The column features Heller's commentary, essays, and observations on graphic design, typography, art, popular culture, and New York City, often incorporating historical design elements, personal anecdotes, and critiques of contemporary visual trends. A few years ago, he featured my work in a separate daily article, which you can see by clicking here, he has featured some of my drawings in other publications (click here to see them), and now he begins his article about the theater poster exhibition in Sofia by featuring my work. Click here. Thanks Steve! (We met many years ago in the editorial office of the New York Times.)

NEW WEBSITE

Greetings to all Utisz Blog readers and viewers. Let me also draw your attention to the new web page, in which we have collected my old and new works - fine art, design and literature - with the designer Csongor Zeitler. Click here: www.istvanorosz.com Thank you for sharing your opinions with us.

AN ALMOST TWENTY-YEAR-OLD POSTER

 

History often repeats itself. Sometimes something similar can happen to graphic designers. In 2006, almost twenty years ago, the art director of the famous magazine The Progressive commissioned me to draw the cover of the magazine, referring to the escalating US-Iran conflict. Later, I also created the idea of ​​Mickey Mouse threatening a lion as a poster. Well, Let me show it  again.