Architecture is exerting an ever-greater influence on Kristóf Kecső’s sculpture. A few exhibitions ago, an analysis approaching his work from the perspective of geometric abstraction might have captured its essence, but today such an approach would remain stuck on the surface, confined to formalism. As his attraction to architecture—and, within that, to monumental Brutalism—intensifies, his simple forms are slowly being reinterpreted. His squares are less and less like mathematical plane figures and more and more like slit-like windows through which we try to glimpse inside a modernist skyscraper. His parallel lines are no longer mere edges, but rather corridors leading to a secret room, to an interior space.

In his gradual shift, of course, he retains the symbolism of forms; the perfection of symmetry and the stillness of reflection, as well as the balance of a world order based on opposites, remain intact, but the artist no longer treats these as distant ideals, but rather as fundamental elements of architecture. He reaches for material reality, where the space of the sculpture is something into which one can penetrate—at least in thought—and which is capable of enveloping a secure and clear space like armor. His pairs of proportions seek to affect physical sensations; his boxed metal blocks are miniature buildings. Kristóf Kecső is not interested in the rawness or unfinished quality of Brutalism, but rather in the fact that certain man-made forms, simply by their presence, can compel the viewer to reflect on their place in the world.

Opening: 6 October 2026, 6:00 pm
Opening remarks by: Tímea Fülöp, art critic and theorist
Wines provided by Karikahegy Winery
Venue: Hungarian University of Fine Arts, Epreskert, Parthenon Frieze Hall (26–28. Kmety György Street, 1063 Budapest)
On view: until 16 October 2026, weekdays, 10 am–6 pm