PARALLEL ART FOUNDATION
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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.
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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. In Taiwan, one can simultaneously observe the impressive power of nature and the indifference and isolation of modern, technocratic, urban society towards the beauty of the landscape.
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Lisette Appeldorn (NL)
Characters
2026.03.30. – 05.17.
Cairo Contemporary
Official event of Budapest Photography Festival
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.
Dávid Biró
Trust the Grid
2026.04.01.
– 04.24.
Puccs Contemporary Art
Official event of Budapest Photography Festival
Opening: 2026.04.01. 18:00-19:30
reCaptcha is a reverse Turing test used on online interfaces to filter out robots, and at the same time, by solving puzzles, we also teach artificial intelligence (e.g. self-driving car algorithms). Thanks to the learning process, reCaptcha gives users more and more complex puzzles, so human and machine cognitive abilities are essentially competing with each other. The resulting photographs are complex playful picture puzzles that foreshadow a turning point in favour of machine visual perception compared to humans.
With his works, Dávid Biró not only follows this transformation as a passive user, but also actively, with a playful approach, tries to get in front of the technologies that affect the fabric of societies. Biró’s works are commentaries on the era of manipulated imagery, surveillance, phishing and disinformation.
Ditta Sarfenstein
Inventory
Cairo Contemporary, Budapest
2025 11 21 - 2026 01 18
Sarfenstein Dittas' work deals with questions such as: Do our material possessions define us? Can our objects describe and characterize us? How do our objects influence each other, and how do we imbue our everyday objects with our own personalities?
The overlapping of colours and shapes results in an illusionistic spatial game, evoking a quasi-virtual composition in the emptied exhibition space. The process of creating the Inventory can be compared to the structure of memory: encoding, storage, retrieval. During the latter, the artist draws her objects in space with her pen.
Sarfenstein Ditta graduated in 2025 from the Hungarian University of Fine Arts with a degree in sculpture, where she studied in Ádám Szabó's class. During her studies, she researched ways of visually representing the contrast between virtual and real concepts using sculptural tools, and she also combines traditional craft techniques with modern tools. The technique she used to create his diploma project, Inventory, could be described as the culmination of these two areas of research: hand drawing in space with a 3D pen. In addition to Budapest, she studied fine arts in Munich, Groningen, and Antwerp.
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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 Erzsébetváros Municipality, Hungarian Art Academny
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
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