PARALLEL ART FOUNDATION
Zsuzsanna Szentpéteri
Anyone
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.2025 February 7 - March 31
On view 0-24hThis early stage of development is not so far away from the archetype of vertebrates. Yet it represents a physical form of our unknown past, there is even a conventional uncertainty to what extent could it be considered as part of our life. The relationship between formative forces and the individual soul remains to be explored: all our experience relating to this period is inaccessible, the wideness of our possibilities are unforeseeable.
As a sculpture student at the Hungarian University of Fine Arts, Zsuzsanna Szentpéteri is most interested in the artistic approach to epistemological problems: through the illusions of perspective anamorphosis, transparency and reflection, she explores the subjectivity of spatial experience, the boundaries of the relationship between body and soul, the self and the outside world. She also deals with thematic representations of natural phenomena and current social problems.
For interiors, she mainly creates large-scale installations, using a variety of materials and technical solutions to suit the concept. For years, she has been a regular participant in the Nature Art Open Workshop residency programme at the National Botanical Garden in Vácrátót. Her landart work is located in Scotland and was created as part of a community project. She has had several solo exhibitions at the Calvary in Epreskert, and has been included in group exhibitions at 1111 Gallery, MAMŰ Gallery, ISBN Gallery, FUGA and HfBK Dresden. In 2024, the Ferenc Hopp Museum of Asian Art exhibited one of her works in the museum garden.
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Curator: Gábor Pintér
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
Katalin Szeivolt {SzeKa}
Windless
2025, February 26 – March 23
PUCCS Contemporary Art
Opening: 2025, February 25, 6-7.30pm
Katalin Szeivolt's installation in the space of Puccs was born from her "encounter" with Kacusika Hokusai. She began to work more closely with the master's oeuvre as a museum educator at the Ferenc Hopp Museum of Asian Art. She studied the all-encompassing "Great Wave" and created her own waves. Encounters through the dense tapestry of time, from which visions on shredded canvas were born.
Windless is a great sea of tears, drawn, painted, sculpted, a rippling world of tears, of inner weeping and sobbing, of joy and sorrow. A still image, a situation report, an assessment and awareness of stuckness and aimlessness. The question is, 'where to next?'
Katalin Szeivolt graduated in 2000 from the painting department of the Hungarian University of Fine Arts, where her master was Károly Klimó. As a young artist, she had several solo exhibitions, mostly in non-classical exhibition spaces, in line with her work. After a longer period of artistic activity, she recently started to show her work again. In addition to her creative work, art education has been a priority in her life, running her own drawing school until 2020, and is currently a museum educator at the Ferenc Hopp Museum of Asian Art.
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Puccs Contemporary Art, 1084 Budapest, Víg u. 22.
Adrienn Szövérffi - Lukács Sámuel Tompa
Horse on Display
2025.04.01 – 26.
PUCCS Contemporary Art
Opening: 2024, March 31, 6-7.30pm
Official event of Budapest Photo Festival 2025.
The photographic installation points to the current situation of the Roma community in Budapest and the problems of social exclusion. Under socialism, the integration of Gypsies into the labour market and their relocation to cities required a lifestyle and cultural adaptation, which was made more difficult by the lack of education and vocational training, increasing their exclusion. Trying to take the customs of rural life (including their domestic animals) with them, they created absurd situations.
The Muybridge horse behind the bars symbolises the traditional occupations of this ethnic group as well as the loss of the gallery's classical function. The symbol of movement now stands motionless, locked up, without its rider, pointing to a universal history where the values of the past can become the prison of modernity. The work requires an active viewer's approach, and when viewed from a central perspective, the projection of the grid disappears, inviting the viewer to search for a solution.
Adrienn Szövérffi's work explores the nature of personal identity and current social issues. She draws from a photographic toolkit that supports her chosen subject matter in both content and form, and through her installations, she offers further interpretations of the topics she explores.
Lukács Sámuel Tompa is particularly interested in experimenting at the boundaries of moving images and photography. Through this, he seeks new tools to achieve a more complex and expressive visual language.
They have presented their collective and solo works in several group exhibitions, including the Robert Capa Contemporary Photography Center, Telep Gallery, Artus Studio in Budapest, Fondation Vasarely in Aix-en-Provence and OFF Bratislava.
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PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Organised by Parallel Art Foundation
Curator: Gábor Pintér
www.parallelfoundation.com
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Bálint Gutay
How deep an iceberg is
2025 April 14 - May 25
> Budapest Photo Festival <
How deep an iceberg is photography project of Bálint Gutay is dealing the social transformation and digital revolution of the past twenty years, considering these two as one conceptual unit. Social transformation sparks the digital revolution and the digital revolution chaos and reorganises society. Public versus private, real identity versus virtual persona. Is there a way out, or can we only mitigate the inevitable fate.
[photo: Ádám Kuttner, Fresh meat, K6 Gallery, 2024]
Cia Rinne [FI]
notes on war
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.2025 January 9 - February 2
On view: 0-24hCia Rinne is a Finnish conceptual poet who lives in Berlin. She writes in a dual tradition of European sound poetry. Polyglot – she alternates English, French, Italian and German with a playful approach to concrete poetry archetypes with puns, visual gags, materiality of language, and effects of meaning.
notes on war is part of notes for soloists that is series of visual and concrete poetry. Instigated by a deep mistrust in language and its use, the short pieces examine the smallest parts of language and its rhizome, playing with phonetic similarities and shifts in meaning, visuality and sound. The minimalist pieces are the result of a reduction towards nothing.
The aesthetics of the installation are reminiscent of the adhesive tape window display solution prescribed during the Spanish Civil War to reduce the damage caused by window shattering.
Cia's approach is multifaceted. She once said in an interview: I always used to play little word-games at school while writing or listening to something. Then it became more severe when I was studying philosophy that so much dealt with language. We were disputing about every single word, and the resulting language often turned out to sound ridiculous. In order to say something really clearly you have to be quite precise in your use of language, so as to avoid any possibility of misunderstanding. Many discussions were structured around the definitions and use of words and concepts. Philosophical language is often a very peculiar language. Wittgenstein wrote: “A proposition is completely logically analysed if its grammar is made completely clear: no matter what idiom it may be written or expressed in.” Somehow, this way of thinking affected me. You immediately react logically to formulations that could be misunderstood and need to use the most minimal expression possible to keep that potential at stake.
Cia Rinne refers to the importance of her experiences from a long-term research project on the language of the Roma as fundamental to an understanding of how movements between different languages and places – a kind of linguistic nomadic life – have led to an interest in the political and cultural gaps and shifts in meaning of language that are the basis of her work. She also points to the Fluxus movement, musicians like Steve Reich and John Cage, and philosophy as sources of inspiration. By twisting and turning words and shifting language within the same sentence, she plays with the meaning of words and their phonetic and visual similarities and differences. In her performances, she explores, among other things, the relationship of the body and the voice to language, and how the body can function as a meaningful sign. In addition to being permeated by the language of philosophy and the philosophy of language, Rinne’s practice also contains a great deal of humour.
Cia Rinne (1973) was born in Gothenburg but grew up in Germany, Finland, and Denmark, and is now based outside Berlin. She has published four collections of poetry, written opera libretti, and several texts for the stage. Her work has been exhibited in Marabouparken konsthall in Stockholm, Haus am Waldsee in Berlin, and Centre Pompidou in Paris; and is represented in collections such as the MOMA Artist Book Collection, Bibliothèque des Beaux-Arts de Paris and the Copenhagen City Collection.
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Curator: Gábor Pintér
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation