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
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
Infinity of Columns
2026 02 27 - 03 27
PUCCS Contemporary Art
Opening: 2026, February 27, 6-7.30pm
Orsolya Jancsovics' installation entitled Infinity of Columns 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.
Precedents of the installation at Puccs were first presented at the IV. Nature Art Workshop held at the Vácrátót Arboretum in 2024 and at the 2025 Bánkitó Festival. In the space of Puccs, they appear in a more coherent way, in the form of a site-specific installation.
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 2023, she presented her conceptual works at a solo exhibition entitled ZIJI at the Hungarian University of Fine Arts - Epreskert Kálvária. She has participated in several group exhibitions, including Nádor Gallery in Pécs, Káli Art Park, as well as Karinthy Salon and Eötvös10 Cellar Gallery in Budapest. In 2025, she was a scholarship student at the sculpture department of the National Taiwan University of Arts.
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On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
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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Setényi Anna Eszter
Konyhai vita / Kitchen Debate
2025.12.05 – 2026.01.09.
PUCCS Contemporary Art
Megnyitó: 2025. december 5., 18:00-19:30
A kirakatinstalláció a The Kitchen Debate* (1959) történelmi eseményét értelmezi újra egy feminista nézőpontból, rávilágítva arra, hogyan vált a hidegháborús propaganda eszközévé a háztartás és a női szerepek idealizálása. A nézők saját testükkel és tekintetükkel válnak részesévé annak a hatalmi játszmának, amelyben a privát és a politikai tér elválaszthatatlanul összefonódik.
Setényi Anna Eszter a Magyar Képzőművészeti Egyetem látványtervező szakán végzett, jelenleg pedig festő szakos hallgató. Művei csoportos kiállításokon szerepeltek, többek között, a komáromi Limes Galériában és a Velencei-tavi Galériában. Művészeti praxisában a nők és a munka transzhisztorikus kapcsolatát kutatja, kifejezett figyelemmel annak szocialista és kapitalista pólusaira.
* A konyhai vita egy sor rögtönzött eszmecsere volt tolmácsok közreműködésével az amerikai alelnök (később amerikai elnök) Richard Nixon és a szovjet miniszterelnök Nyikita Hruscsov között, az Amerikai Nemzeti Kiállítás megnyitóján a moszkvai Sokolniki Parkban 1959. július 24-én. A kiállításra egy egész ház modelljét építették fel, amelyről az amerikai kiállítók azt állították, hogy az Egyesült Államokban ilyet bárki megengedhet magának. A ház tele volt a háztartáisi munkát megkönnyítő, valamint szabadidős eszközökkel, amelyek a kapitalista amerikai fogyasztói piacra szánt vívmányait hivatottak bemutatni.
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Megtekinthető: 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Szervezés: Parallel Művészeti Alapítvány
Kurátor: Pintér Gábor
A program Budapest Főváros VIII. kerület Józsefvárosi Önkormányzat és a Magyar Művészeti Akadémia támogatásával valósul meg.
Kamilla Szeli
Remus
2025.11.07 – 30.
PUCCS Contemporary Art
Opening: 2025, Nov 7., 6-7.30pm
What is this place?
I see the source. It towers above me in its orange splendor. It looks familiar. It's as if I've drunk from it before. Breast milk?
Remus, wake up!
This is the new world.
Kamilla Szeli, with her works, creates the life of her own fictional soft planet, where the mysterious forms of underwater worlds, the alien aesthetics of extra-terrestrial life, and symbols of femininity intertwine. She brings her sculptures to life using traditional techniques of sewing, stuffing, and wool felting, inviting interaction with their softness and organic yet unfamiliar forms.
In her works, textile as a medium conveys the duality of fragility and flexibility. The volume achieved through stuffing reflects the changing shapes of the female body, while the wool felting reflects the ancient power of motherhood. Her sculptures are at once playful and unsettling, familiar and alien, just like the inhabitants of the mysterious planet she imagines.
When creating her works, the artist's main inspiration is to use visual language to tell stories about existence, transformation, and mysterious relationships. She invites the viewer to enter this world woven from fabric and imagination and discover the sometimes grotesque stories hidden behind the soft forms.
[Remus 2025, textile, wool, polyurethane foam, glass]
On view 0-24h
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Supported by Budapest - District 8 Józsefváros Municipality and Hungarian Academy of Arts.
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.
Organised by Parallel Art Foundation
Curator: Gábor Pintér