PARALLEL ART FOUNDATION
![]()
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.
///
On view 0-24h
PUCCS Contemporary Art, 1084 Budapest, Víg u. 22.