PARALLEL ART FOUNDATION
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Nóra
Juhász
Dark Side of The Moon 2
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.2024, September 8-28
On view: 0-24hDark Side of The Moon may have a soul, though not sure.
Perhaps some, not none; after all, they are themselves a somebody, or at least something.
Perhaps there are reasons for their behaviour.
Perhaps we will find out one day.
Until then, what else can we do, we wait.
The Dark Side of The Moon is based on a simple principle: it denies the viewer the bare minimum of what is reasonable. The minimum that we unknowingly await, expect, but it just does not come. And it does not come. And it does not come.
Dark Side of The Moon is this denial in the flesh. An installation that is not interested in the viewer. An exhibited object that says no. A rude freak. A cold presence. A lonely planet.
Nóra Juhász (Budapest, 1993) is a contemporary interdisciplinary artist and theatre-maker. In their cross-media projects, they explore communication, information sharing and the relationship between the individual and society. Their theatre and visual art projects are both socially contextualised, conceptual and playfully ironic. In recent years, role-playing and the use of virtual tools have become a dominant element of their practice. In 2024, they were granted the Stiftung Berliner Leben „Fresh A.I.R.” residency programme and were awarded the Gyula Derkovits Visual Art Scholarship.
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Curator: Gábor Pintér
Supported by Erzsébetváros Municipality
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
Csanád Baksa-Soós & Hanna Skultéty
WORK-IN-PROGRESS
PUCCS Contemporary Art
2024, 09 20-10 13
Opening event: 2024, 09.19., 6-7.30pm
The installation ‘UNDER WORK’ is a capturing and rewriting of a moment found in everyday life. The sculpture presents a constant tension and balance between the floor and ceiling. A consciously created absence and emptiness awakens curiosity and triggers internal currents that make you try to understand what you see and think. The installation takes advantage of the exhibition space to reflect on the relationship between humans and their surroundings. The visitor does not enter the installation space, rather remains as an external observer. This in-between state is strongly present in the creative process, where we do not know what is coming next, and yet we consider this moment as completed.
Csanád Baksa-Soós (2000) graduated from the Moholy-Nagy University of Art and Design in 2022 with a BA in Media Design, and is continuing his studies in Animation Directing. He works in analogue (stop-motion) and digital animation, music video direction, editing and music composition. He also regularly draws, makes gif-loops and handmade objects.
Hanna Skultéty (2003) started her studies at the University of Applied Arts Vienna (Universität Für Angewandte Kunst) in painting and animation. She is currently a BA student of Animation at the Moholy-Nagy University of Art and Design. She likes mixing techniques whether it is moving images, sculpture or painting.
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Puccs Contemporary Art, 1084 Budapest, Víg u. 22.
Supported by Józsefváros Municipality
Kata
György
Light-cone
PUCCS Contemporary Art
2024 10 22-11 08
Opening event: 2024, October 21, 6-7.30pm
In the space-time coordinate system, time is measured on the vertical axis and distance on the horizontal axis. Kata György's cone of light is a spherical surface on which an event that can be represented outside and an event at the origin of the coordinate system, i.e. at the apex of the double cone, cannot affect each other.
Outside the cones we stand in "timelessness".
Some of Kata György's works deal with spatial and temporal positioning. These are mostly works that are created through the active participation of the viewer. As the definition of place or position is - besides the abstract system of natural science - also a social issue, she is also concerned with subjects related to the possibility of memory and the change of memory.
She creates installations and spatial formations in a variety of techniques, ranging from small-scale sculpture to architectural scale. The materials and techniques used are determined by the issues addressed.
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Puccs Contemporary Art, 1084 Budapest, Víg u. 22.
Supported by Józsefváros Municipality
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Cia Rinne [SE]
notes for soloists
Cia Rinne is a Swedish 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 for soloists 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 reducing towards nothing.
Her kind of approach recalling visual poetry has a long story. 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 and so much dealt with the 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 simplify the language, so as to avoid any possibility of misunderstanding. Many discussions were structured upon which word to use. 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 something that could be misunderstood and you have to use the language in a minimal expression to have control over it.
Cia Rinne herself 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 an opera libretto and several texts for stage. Her work has been exhibited in Lundskonsthall in Sweden, British Museum in London, Haus am Waldsee in Berlin and Centre Pompidou in Paris; and is represented in collections such as MOMA Artist Book Collection, Bibliothèque des Beaux-Arts de Paris and 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
Bárdi Dominik
Pantry
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.
2024, August 8 - September 3
On view: 0-24h
The pantry carries the association of a homely environment. Grandma's preserves lining up is a lovely memory in our minds. Although the artist was interested in the collective, common moments of remembrance during the creation process, it is not a historical memory, but the reminiscence of childhood. The process of reminiscence is important to the artist, the way an object strokes back moments of our past. The melting wax is a metaphor for the intimate family idyll. The jars are in different colours and we associate different flavours with them. There is also the problem of the half-empty or half-full question: just as the wax imitates the inner content of the empty glass, it fills it with meaning.
Dominik Bárdi has been working for more than a year on the representation of transparency, mainly using sculptural means. He creates images and reliefs with wax and light. Most of these works are reliefs on a glass surface with two complementary or even contradictory views. He patterns the wax on the glass surface so that light can easily pass through. The recipe of relief changes and a new, reserve patterning is needed. The darker the image, the thicker the layer of wax. The view through the glass can never be completely sharp, so only sudden changes in thickness can give a sense of tonal variation. While one side appears to be a photo-like relief, the other side appears to be an almost uninterpretable relief, a kind of negative of the relief: the darker parts are the high parts and the illuminated parts are the low parts.
Dominik Bárdi was born in 2000 and is currently a sculpture student at the Hungarian University of Fine Arts. He was awarded a Ludwig scholarship in 2023. His work has been shown in group exhibitions at MAMŰ Gallery and ISBN Gallery, among others. His chosen themes often include everyday elements. He often uses found objects and his work is also characterised by the evocation of childhood.
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Curator: Gábor Pintér
Supported by Erzsébetváros Municipality
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation