Kálmán Molnár Munkácsy Prize-winning artist, graphic designer graduated from the Hungarian Academy of Fine Arts in 1967; his masters were Géza Fónyi and György Konecsni. Then he had taught at the Graphic Design Department of the same school from the early 1990s. From 1992 he was the head of the Department of Graphic Design and deputy rector of the Hungarian Academy of Fine Arts for twelve years and he is credited with the introduction of modern computer graphics in education.
He has made his mark in various genres of graphic design: from creating his own graphic cards to illustrating posters, calendars, book covers, album covers and more. In addition to his graphic work he has also played a prominent role in the design of exhibitions. Among others he played a significant role in Hungary's foreign exhibitions at the Hungarian Week in Hamburg 1982; Stuttgart, Hungarian Days 1981; Cairo Hungarian Week 1984; Naples Hungarian Week 1987; Hannover Hungarian Week 1988; Hamburg, Transport 1988; Singapore, Seoul 1989; World Shipping Exhibition in Genoa (1992).
The backbone of the exhibition in Veszprém is formed mainly by the film posters made for MOKÉP, showing through them the evolution of his vision. The author writes the following about his film posters:
"In the 70s I made posters for memorable films "CATCH 22" /1970/, "FLOWERS FOR ALGERNON" /1972/, "A POLICE OFFICER'S CONFESSIONS FOR THE STATE LAWYER/Confessione di un Comissario di Polizia al Procuratore Della Repubblica" /1972/, "JOHN AND MARY" /1971/, "ROMANTIC" /1972/, etc. are works that can be interpreted on several levels. I like to use forms based on subtle line systems, such as "BERNARDA ALBA'S HOUSE" /1976/, "JONES' BACK" /1976/, or "PETRUSKA" /1976/, a theatre poster graphic. I was concerned with the conveyance of associative meaning beyond the visual, the possibility of displaying the underlying content, the rewriting of an entrenched interpretation and the endowment of it with topical content. I tried to draw attention to the self-made ills of technical civilization, to the devilish man, with the poster of the 1978 American film " BIRDS OF PREY". My Polish film poster "WALL" /1977/ shows the fall of dictatorship and oppression. To represent the content and message of the film the human face is broken into pieces in the crumbling brick wall. The bricks are still connected, but this is the moment before the fall. The motif of the brick recurs in the Polish film poster "PROSECUTION" /1977/. A monumental figure emerges from behind a raised desk, his hands resolutely forward, his index finger pointing the way.
One of my favourite works, the poster "WOYZECK" based on the drama by G. Büchner and directed by Werner Herzog won the "Best Film Poster of the Year" award in 1980."
