Gábor Kristóf

  • Slovakia (b. 1988 in Kosice)
  • Currently in Budapest, Hungary.



In the focus of my artistic praxis has always been a theoretical approach to the dichotomy that stands between the images of everyday life and the specific status assigned to artistic prduction. In systematic experimental work on the frontier between painting and industrial production - in the manner of a reversed industrial revolution - I am deconstructing the automatized processes, letting standards fail and new possibilities for both artistic creation and industrial use emerge. My role is increasingly shifting towards that of a mediator as the series are in many cases independent from my creation and are part of a shared autonomy in favor of establishing a platform of creation with multiple authorship.


Kristóf Gábor was born in Košice, Slovakia in 1988.
He studied painting and intermedia at the Hungarian University of Fine Arts between 2008 and 2014 and at Chelsea College of Art and Design, UAL London in 2011.

In 2016 he was in residncy at Cité Internationale des Arts, Paris, and just recently he has been awarded the Visegrad Artistic Residency in New York., coorganized by Futura Prague and Art in General, Brooklyn, NY.

Kristóf is the founding member of the artist group Les Faux-Fauves with Judit Fischer, he is member of the The Studio of Young Artists’ Association (SYAA), and initiator or many collaborative projects.

Kristóf’s work is based on the exploration of the overlapping land between traditional visual arts and different industrial media. In the realm of high volume reproductional industries his interventions result in founding a shared autonomous platform of creation and it’s applied potentials.

 On the development of Kristóf’s artistic praxis was with radical infuence his parallel presence at the more conservative painting and mainly interdisciplinary and conceptual intermedia departments. From his early figurative paintings based on materials got from offset printing houses, his focus has shifted more strictly to abstraction and conceptual approaches, involving topics of image studies, ephasizing on the changing nature, role, context and notion of image, involving factors of time and the process incorporated in the pictures of our time.

 The methodology developed during the work on his first solo show Offsetting became essential in his recent ongoing projects as in the series Polychrome Monochromes or Die-line Drawings, which are based on discovered possibilities arising from his experimental use of powder coating and die-cutting industries. His previous solo show Melting Point lies in the buffer zone of the very basics of painting and industries producing our everyday visual surrounding, aiming to rethink the fundamentals of the western visual epistemology.