PARALLEL ART FOUNDATION
Mátyás Fusz
No bottom, no top
Cairo Contemporary, Budapest
2026, May 22 - August 30
“I’m not sure where a mountain begins. Is there a clear line, a stream, or a low point beyond which everything above counts as a mountain?
Then, up there, I have been to peaks that were very flat—almost like plateaus—and I have even turned back a few hundred meters before reaching the summit. Partly because I am afraid of heights, and partly because, when I am exhausted, I can easily come to terms with the idea that I will not finish this all the way through.
Maybe that is also, why there is about 10 square centimetres of panelling missing from the top of my house. Back then, I got tired and climbed down from the ladder, thinking I would finish it later, but I never went back up there. There is no need to panic—it is not leaking—but still.
The exhibition plays on this 99-percent-of-the-time character, creating hiding places and unavoidable priorities for it.”
Mátyás Fusz explores the subjective and objective boundaries of perception primarily through sculptures, objects, and installations. His works and series, which depict the possibilities—or indeed the impossibilities—of defining what is different and what is the same, are studies of the simplest possible cases.
He graduated as a painter from the Faculty of Arts at the University of Pécs in 2009 and earned his Ph.D. from the Hungarian University of Fine Arts in 2021. He has had solo exhibitions at the Budapest Gallery, the Kisterem Gallery, and the Liget Gallery, among others, and has participated in group exhibitions at the Kiscelli Museum, the Vasarely Museum, and the M21 Gallery in Pécs. In 2023, he won the Leopold Bloom Fine Arts Award.
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On view 0-24h
Cairo Contemporary, 1071 Budapest, Lövölde tér 7.
Organised by Parallel Art Foundation
Curator: Gábor Pintér
Supported by Hungarian Academy of Arts
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
Anna
Járai
Habitus
(Hungaricum Metamorphoses
IV.)
Cairo Contemporary, Budapest
2026 09 04–10 14
In folk belief, the red boot appears as a means of taming a forest creature known as the ‘wild maiden’, which can be interpreted as a symbol of coercion into the patriarchal order. The work subverts and reclaims this symbol: the boot becomes the embodiment of Virginia Woolf’s ‘a room of one’s own’, taking on monumental proportions and providing a space for the experience of a wild, autonomous inner world. In this way, the process of taming is turned inwards; rather than subduing our inner wildness, it reinforces self-discovery, liberation and reclaiming.
Anna Járai, a Budapest-based filmmaker and visual artist, explores the themes of embodiment and memory from a feminist critical perspective, creating research- and performance-based, cross-genre works including videos, photographs and installations. She draws inspiration from folklore, family history and local history, which she frequently references in her ritual reinterpretations. The installation entitled Habitus is a spatial representation of the latest piece in the Hungarikum Metamorphoses photographic series.
In 2022, she graduated from the Film programme at Falmouth University in England, and in 2026, she graduated with an MA in Fine Art from the Hungarian University of Fine Arts. Her work has been shown at international film festivals and institutions such as the Encounters Film Festival in Bristol, the Millennium Film Workshop in New York, the Mayfair Art Weekend in London, and most recently at The Ladder in Redruth. In Budapest, her works were on display at the group exhibition The Land Interviewed at the Tér-Kép Gallery, as well as at the Turbina Cultural Centre’s exhibition Fluid Identities, Post-Hungarian Realities. In the spring of 2026, she was a fellow on a residency programme organised by Studio Rizoma in Palermo and European Alternatives, where she explored the themes of artistic activism and translocal solidarity. In early July, at the 5th Urban Camp organised by Tranzit.hu, she led a participatory art workshop based on the theories of Silvia Federici, in which participants created experimental animations whilst exploring the social significance of gossip.
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On view 0-24h
Cairo Contemporary, 1071 Budapest, Lövölde tér 7.
Supported by Erzsébetváros Municipality, Hungarian Academy of Arts
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
Ditte Marie Frost [DK]
Father’s Three Hands
2026, 09 04—10 14
PUCCS Contemporary, Budapest
The installation Father’s Three Hands revolves around themes of trust, power dynamics, and manipulation, as well as societal imbalances and darker sides. Additionally, the work explores impermanence in both material and organic contexts. The visual expression of the piece draws from human anatomy, with the artist's specific inspiration stemming from educational anatomical charts of hands.
The artwork consists of three free-hanging surfaces sewn together from textiles and shaped like three hands. Measuring 250 cm each, the three pieces are suspended from the ceiling by metal chains.
Father’s Three Hands is crafted from coarse and fine linen, silk, and tulle. The nearly transparent silk and tulle stand in sharp contrast to the rough linen. The textiles have been treated using a graphic technique where patinated copper creates a turquoise print on the fabric. Furthermore, the linen has been colored using metal water and imprint from chains, leaving the material with deep brown shades. The combination of the textile's texture and the metal's patina creates a visual effect that evokes the decay of the body, exposing flesh and bone through the process of decomposition.
The title Father’s Three Hands refers to the Holy Trinity: the Father, the Son, and the Holy Spirit. In this installation, however, the hands take on a different meaning. They do not point toward harmony, but toward a world marked by unrest and inequality. Two of the hands form a pair, while the third stands apart, suggesting something uncontrollable and disruptive. The focus shifts from the divine to the primal and fragile aspects of human nature—the sides we cannot always control, such as violence, betrayal, hidden intentions, and paralysis.
In her practice, Ditte Marie Frost takes her point of departure in the subconscious and the obscured aspects of our world, where everything is in constant flux. Frost works across the mediums of installation, sculpture, and painting, using materials such as oxidized copper, steel, brass, iron, oil paint, and textiles.
In her works, Frost combines sculptural elements made from various metals and textiles. The textiles are bleached and patinated by oxidized metals through a specialized technique. Frost is drawn to the utilization of chemical processes, as they leave an expression in the works that balances between the uncontrollable and the predictable. The patination and corrosion processes used in Frost’s works reflect one of the overarching themes in her practice: impermanence and transformation.
Frost’s motifs draw from insects, weapons, and human and animal bodies. By combining bodily figurations with oxidized metals, she creates a space that oscillates between destruction and creation. For her motifs, Frost finds inspiration in alchemy, religion, and film—particularly genres such as horror, sci-fi, and body horror. In her artistic practice, Frost is furthermore inspired by Julia Kristeva's and Carl Jung's ideas on consciousness.
Ditte Marie Frost is a Danish visual artist (born 1992) who graduated from Funen Art Academy in Odense (2015-2020), which included an exchange program at the Royal Danish Academy of Fine Arts (2018-2019). In 2022 she had her first institutional solo exhibition at Platform in Nikolaj Kunsthal. Additionally, her work has been exhibited in the Round Tower in Copenhagen and at Cantina in Aarhus, among other venues.
[photo: Mikkel Kaldal]
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Curator: Gábor Pintér
Supported by Hungarian Academy of Arts, Statens Kunstfond (Danish Arts Foundation), Kulturudviklingspuljen (Cultural Development Fund - Aarhus)
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Factory International x EUNIC
Creative Producers Programme 2026
A professional development and cultural exchange programme for creative producers working in regions represented in the EU National Institutes of Culture network.
Parallel Art Foundation is honoured that Gábor Pintér, art director of the Foundation had been selected to participate in this exceptional initiative.
The Factory International x EUNIC Creative Producers Programme is a collaborative partnership between EUNIC and Factory International to enhance cultural dialogue and artistic collaboration between EU and the UK. 12 creative producers from regions across EUROPE had been selected through an open call and supported by EUNIC, and one Manchester creative producer (nominated by Factory International), to gather in Manchester to attend networking, performance and learning events at Factory International and in its proximity.
Factory International is a renowned Manchester based organisation based at Aviva Studios, one of UK’s newest and influential cultural buildings. Factory International operates both Aviva Studios and the biennial Manchester International Festival (MIF), which focuses on brand new artistic work, made through high-profile international collaboration. Factory International also runs a series of international touring, digital, skills and training and public engagement work.
EUNIC London (European Union National Institutes for Culture) is the network of the cultural institutes and embassies from the member states of the European Union in London. A branch of EUNIC Global, the London network was established in 2007 and presently has 37 members who share knowledge and resources in order to promote greater cooperation and develop partnerships between European nations and UK organisations.
The participation of Gábor Pintér is supported by Liszt Institute - Hungarian Cultural Centre London.
Lisette Appeldorn (NL)
Characters
2026.03.30. – 05.17.
Cairo Contemporary
The exhibition is a part of the official
program of Budapest Photo Festival 2026.
Lisette Appeldorn merges her experience and knowledge obtained from fashion-, product- and photography. With the use of everyday objects, which form the raw materials in her configurations, quirky characters come to life. That established a peculiar world both fictional and imaginative, yet prevail in a close relation to our direct worldly surroundings. This interrelationship between the elements of reality and fantasy hold up a central role in her work.
Supported by
Cooperation partner
