PARALLEL ART FOUNDATION
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
Dávid Biró
Trust the Grid
2026.04.01. – 04.24.
Puccs Contemporary Art
Official event of Budapest Photography Festival
Midissage: 2026.04.15. 18:00-19:30
Current imaging contexts create a visual environment that resists stable frameworks of image interpretation. The image does not appear as an unambiguously readable structure, but rather as a system built upon multiple, contradictory visual logics. Recognition is not an automatic process, but rather an uncertain and constantly renegotiated one. In this context, the increasingly advanced cognitive capabilities of algorithms—pattern recognition, categorization, and visual inference—shape not only the creation of images but also the frameworks for their interpretation. The distinction between virtuality and reality cannot be fixed but dissolves, rendering the image’s status fundamentally unstable.
Similar to his earlier works, Dávid Biró draws upon this state of uncertainty. The resulting composition creates a visual situation in which the viewer remains in a constant state of interpretive attempt. The emphasis is not on the subject of the image, but on the process of recognizing and reconciling various patterns, structures, and visual signs. The image thus does not offer a solution, but creates an open enigma in which the conditions of interpretation become visible.
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Mátyás Fusz
No bottom, no top
Cairo Contemporary, Budapest
2026, May 22 - July 10
“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
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Orsolya
Jancsovics
Imitation
2026 02 27 - 03 27
PUCCS Contemporary Art
Opening: 2026, February 27, 6-7.30pm
Orsolya Jancsovics' installation entitled Imitation deals with the issues of "imitation" and "identification," further developing her earlier series of works entitled Disguise. The artist interprets disguise as a form of blending in: "dressing up as nature," a gesture of returning to the beginning, to Mother Nature. The costumes here are not related to the world of consumption, but to the archaic knowledge of tribal communities, the experience of belonging and unity with nature. The individual who comes into contact with the "magical object" can immerse themselves in the flow experience, loose control over time, and reconnect with their own inner rhythm. The suspended work features contrasting pairs such as civilization–culture, urbanization–nature, contemporary–archaic, and male–female. The relationship between men and women appears not only in formal but also in technical terms: it merges into a kind of androgynous creation; the masculine framework often used in sculpture is combined with softer, feminine raffia weaving. The decomposing materials of the work themselves evoke the cycle of nature.
After her study tour in China, Orsolya Jancsovics made a definitive commitment to sculpture. The art and philosophy of Far Eastern culture have continued to influence her work ever since. She is interested in everything that is ancient and belongs to the past. However, this does not mean that she is simply nostalgic or traditionalist. For her, the transmission of values always goes hand in hand with constant change and dynamism: a synthesis of the past and the present, and perhaps even a sense of the future.
In her earlier works, she has already dealt with issues related to gravity and sculpture, such as balance and the risk of collapse. Her works are often characterized by performativity, while exploring borderline situations and the extent of the individual subject.
In the fall semester of the 2025/2026 academic year, as a student at Taipei National Taiwan University of Arts, she created her installation entitled Injured Island, which is the precedent of the work created in Puccs, composed of banyan roots brought from Taiwan, as well as wires, raffia, and yarn. Walking through the streets of the gigacity, the artist was fascinated by the banyan tree's roots hanging down from above and intertwining everything, giving the impression that the tree had human hair. And next to it is a network of electrical wires running along the walls of buildings, which in Europe tend to be hidden away. These two types of "ropes" create a parallel between the natural and the artificial, as do some of the synthetic pieces used by the artist herself.
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
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Zsuzsanna G. Szabó
more is more
PUCCS Contemporary Art
2026.01.16-02.20.
Opening: 2026, January 16., 6-7.30pm
Performance by Csilla Gesztelyi Nagy / Cipolla Collectiva
Talk &Action: 2026, February 12.6pm
Side event of Budapest Central European Fashion Week.
The clothing industry produces, artists create – both processes generate endless amounts of by-products that are inherently wasteful, slowly flooding the world with objects.
Zsuzsanna G. Szabó has long been engaged in a deeper analysis of her main medium, knitting, in various contexts. Her installation presented at Puccs was inspired by the large amount of experimental knitting that inevitably accumulates in workshops during the creation of knitted objects. Contemplating the sculpture installation created from these objects, which fills the entire space, we can reflect on our already visually overstimulated world, the textile industry's environmentally damaging overproduction, chaos, and the beauty inherent in it.
Many knitting require a lot of time. The exhibited fabrics were all made on manually operated flat knitting machines, bearing the traces of the long, meditative, artisanal work that went into their creation, which gives them added meaning.
Zsuzsanna G. Szabó (Budapest, 1990) is a textile artist who graduated from the Moholy-Nagy University of Art and Design with a degree in fashion and textile design. In 2015, she participated in theater director and visual artist Robert Wilson's summer residency program at the Watermill Center in New York, where she gained experience in costume design and performance art. She works in performance art, installations, and knitwear and costume design, primarily in the field of contemporary dance. Her main area of creation is costume-centered performance. The genre is unique in that the focus is on the shaped material, blurring and dissolving the boundaries between performing arts, visual arts, and applied arts. Her most important creative tool is knitting, but she also works with embroidery and other textile techniques, and she constantly examines and researches the cultural and social significance of these activities. She often reflects on her own life in her works, so her frequent themes are motherhood, femininity, and the ideas based on them.
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Organised by Parallel Art Foundation
Curator: Gábor Pintér
Supported by Budapest - District 8 Józsefváros Municipality and Hungarian Academy of Arts.
