https://parallelfoundation.com Parallel Art Foundation / Parallel Művészeti Alapítvány Sun, 19 Apr 2026 14:22:45 +0000 https://parallelfoundation.com en https://parallelfoundation.com/INDEX Fri, 07 Jul 2023 15:54:19 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/INDEX <img width="505" height="274" width_o="505" height_o="274" data-src="https://freight.cargo.site/t/original/i/7d1ba1516c7153ff2f2a5521d155dde4624893db353190aeecab5555b50b00b4/parallel_transparent.png" data-mid="184439812" border="0" data-scale="22" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/505/i/7d1ba1516c7153ff2f2a5521d155dde4624893db353190aeecab5555b50b00b4/parallel_transparent.png" /> ENGLISH&nbsp;|| MAGYAR https://parallelfoundation.com/NOW-2026-03-30-05-17-Lisette-Appeldorn-NL-Characters Fri, 06 Feb 2026 13:27:48 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/NOW-2026-03-30-05-17-Lisette-Appeldorn-NL-Characters <img width="616" height="844" width_o="616" height_o="844" data-src="https://freight.cargo.site/t/original/i/56c4f4c6b7da0093b92ec1b0396789562b6fceec47d2eeb4e5bb648a05899528/CAIRO_-Lisette-Appeldorn.jpg" data-mid="244520144" border="0" src="https://freight.cargo.site/w/616/i/56c4f4c6b7da0093b92ec1b0396789562b6fceec47d2eeb4e5bb648a05899528/CAIRO_-Lisette-Appeldorn.jpg" /> Lisette Appeldorn (NL) Characters 2026.03.30. – 05.17.Cairo Contemporary The exhibition is a part of the official program of Budapest Photo Festival 2026. 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. Supported by <img width="223" height="78" width_o="223" height_o="78" data-src="https://freight.cargo.site/t/original/i/86bfb8e48822a106ff7d08349606e616676a1790e7ee63e1f800ca70850d11d5/Megaplex-logo_net.jpg" data-mid="245432718" border="0" data-scale="6" data-icon-mode src="https://freight.cargo.site/w/223/i/86bfb8e48822a106ff7d08349606e616676a1790e7ee63e1f800ca70850d11d5/Megaplex-logo_net.jpg" /> Cooperation partner <img width="142" height="142" width_o="142" height_o="142" data-src="https://freight.cargo.site/t/original/i/03778a914056174e9917d544e04bc7713f14f63ed7b6ec5c7620de21916c8d98/BudapestFotofesztival_logo.jpg" data-mid="245922788" border="0" data-scale="12" data-icon-mode src="https://freight.cargo.site/w/142/i/03778a914056174e9917d544e04bc7713f14f63ed7b6ec5c7620de21916c8d98/BudapestFotofesztival_logo.jpg" /> https://parallelfoundation.com/NEXT-2026-05-22-07-10-Matyas-Fusz-No-bottom-no-top Sun, 19 Apr 2026 14:22:45 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/NEXT-2026-05-22-07-10-Matyas-Fusz-No-bottom-no-top <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/4606ab0262f52f2dd1534d4608cbcc12f5a205cf325184480ec2efdb9e32adbd/Fusz-Mtys_Se-alja--se-teteje_CAIRO_net.png" data-mid="247376578" border="0" src="https://freight.cargo.site/w/1000/i/4606ab0262f52f2dd1534d4608cbcc12f5a205cf325184480ec2efdb9e32adbd/Fusz-Mtys_Se-alja--se-teteje_CAIRO_net.png" /> Mátyás Fusz No bottom, no top Cairo Contemporary, Budapest 2026, May 22 - July 10&nbsp; “I’m not sure where a mountain begins. Is there a clear line, a stream, or a low point beyond which everything above counts as a mountain?&nbsp; Then, up there, I have been to peaks that were very flat—almost like plateaus—and I have even turned back a few hundred meters before reaching the summit. Partly because I am afraid of heights, and partly because, when I am exhausted, I can easily come to terms with the idea that I will not finish this all the way through. Maybe that is also, why there is about 10 square centimetres of panelling missing from the top of my house. Back then, I got tired and climbed down from the ladder, thinking I would finish it later, but I never went back up there. There is no need to panic—it is not leaking—but still. The exhibition plays on this 99-percent-of-the-time character, creating hiding places and unavoidable priorities for it.” Mátyás Fusz explores the subjective and objective boundaries of perception primarily through sculptures, objects, and installations. His works and series, which depict the possibilities—or indeed the impossibilities—of defining what is different and what is the same, are studies of the simplest possible cases. He graduated as a painter from the Faculty of Arts at the University of Pécs in 2009 and earned his Ph.D. from the Hungarian University of Fine Arts in 2021. He has had solo exhibitions at the Budapest Gallery, the Kisterem Gallery, and the Liget Gallery, among others, and has participated in group exhibitions at the Kiscelli Museum, the Vasarely Museum, and the M21 Gallery in Pécs. In 2023, he won the Leopold Bloom Fine Arts Award. /// On view 0-24h Cairo Contemporary, 1071 Budapest, Lövölde tér 7.Organised by Parallel Art Foundation Curator: Gábor Pintér Supported by Hungarian Academy of Arts Cooperation partner: Bischitz Johanna Integrated Human Service Centre instagram.com/Cairo.Contemporary instagram.com/parallel.art.foundation &nbsp; &nbsp;<img width="1166" height="669" width_o="1166" height_o="669" data-src="https://freight.cargo.site/t/original/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" data-mid="247376577" border="0" data-scale="8" data-icon-mode src="https://freight.cargo.site/w/1000/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" />&nbsp;<img width="646" height="160" width_o="646" height_o="160" data-src="https://freight.cargo.site/t/original/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" data-mid="247376576" border="0" data-scale="5" data-icon-mode src="https://freight.cargo.site/w/646/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" /> https://parallelfoundation.com/2026-04-01-04-24-David-Biro-Trust-the-Grid Fri, 06 Feb 2026 16:00:37 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2026-04-01-04-24-David-Biro-Trust-the-Grid <img width="1920" height="1005" width_o="1920" height_o="1005" data-src="https://freight.cargo.site/t/original/i/92d028d4efbc050477299eb9e1a3830f6360172d1984687d49227b72a39e8842/Bir-Dvid_Bzz-a-rcsban_PUCCS.jpg" data-mid="246532083" border="0" src="https://freight.cargo.site/w/1000/i/92d028d4efbc050477299eb9e1a3830f6360172d1984687d49227b72a39e8842/Bir-Dvid_Bzz-a-rcsban_PUCCS.jpg" /> Dávid Biró Trust the Grid 2026.04.01. – 04.24. Puccs Contemporary Art Official event of Budapest Photography Festival Midissage:&nbsp; 2026.04.15.&nbsp; 18:00-19:30 Current imaging contexts create a visual environment that resists stable frameworks of image interpretation. The image does not appear as an unambiguously readable structure, but rather as a system built upon multiple, contradictory visual logics. Recognition is not an automatic process, but rather an uncertain and constantly renegotiated one. In this context, the increasingly advanced cognitive capabilities of algorithms—pattern recognition, categorization, and visual inference—shape not only the creation of images but also the frameworks for their interpretation. The distinction between virtuality and reality cannot be fixed but dissolves, rendering the image’s status fundamentally unstable. Similar to his earlier works, Dávid Biró draws upon this state of uncertainty. The resulting composition creates a visual situation in which the viewer remains in a constant state of interpretive attempt. The emphasis is not on the subject of the image, but on the process of recognizing and reconciling various patterns, structures, and visual signs. The image thus does not offer a solution, but creates an open enigma in which the conditions of interpretation become visible. /// On view 0-24h PUCCS Contemporary Art, 1084 Budapest, Víg u. 22. <img width="142" height="142" width_o="142" height_o="142" data-src="https://freight.cargo.site/t/original/i/03778a914056174e9917d544e04bc7713f14f63ed7b6ec5c7620de21916c8d98/BudapestFotofesztival_logo.jpg" data-mid="245922693" border="0" data-scale="11" data-icon-mode src="https://freight.cargo.site/w/142/i/03778a914056174e9917d544e04bc7713f14f63ed7b6ec5c7620de21916c8d98/BudapestFotofesztival_logo.jpg" /> https://parallelfoundation.com/2026-02-27-03-27-Orsolya-Jancsovics-Imitation Thu, 22 Jan 2026 15:52:07 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2026-02-27-03-27-Orsolya-Jancsovics-Imitation <img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/2f31426f56f9706871df729d03dfdd5174ff1a49c5004f1b2acf2c1e05251818/Jancsovics-Orsolya_Oszlopok-vgtelenje____.jpg" data-mid="243815994" border="0" src="https://freight.cargo.site/w/1000/i/2f31426f56f9706871df729d03dfdd5174ff1a49c5004f1b2acf2c1e05251818/Jancsovics-Orsolya_Oszlopok-vgtelenje____.jpg" /> 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. https://parallelfoundation.com/2026-01-16-02-20-Zsuzsanna-G-Szabo-more-is-more Wed, 26 Nov 2025 11:01:33 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2026-01-16-02-20-Zsuzsanna-G-Szabo-more-is-more <img width="1280" height="854" width_o="1280" height_o="854" data-src="https://freight.cargo.site/t/original/i/0c7eecc94b7b8031942ef7363008a37a5613517729da84f8cbb683185ff1bcc3/G.-Szab-Zsuzsanna_more-is-more_PUCCS_.jpg" data-mid="241104496" border="0" src="https://freight.cargo.site/w/1000/i/0c7eecc94b7b8031942ef7363008a37a5613517729da84f8cbb683185ff1bcc3/G.-Szab-Zsuzsanna_more-is-more_PUCCS_.jpg" /> Zsuzsanna&nbsp;G. Szabó more is more PUCCS Contemporary Art 2026.01.16-02.20. Opening: 2026, January 16.,&nbsp; 6-7.30pmPerformance by Csilla Gesztelyi Nagy / Cipolla Collectiva Talk &amp;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. /// 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. <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/eea252c6a2e477950796446a0a94cdb9b7f7bfaf6e70579f910df002d9a47688/Jozsefvaros.jpg" data-mid="241104497" border="0" data-scale="9" data-icon-mode src="https://freight.cargo.site/w/900/i/eea252c6a2e477950796446a0a94cdb9b7f7bfaf6e70579f910df002d9a47688/Jozsefvaros.jpg" /> &nbsp; &nbsp;<img width="1166" height="669" width_o="1166" height_o="669" data-src="https://freight.cargo.site/t/original/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" data-mid="241104498" border="0" data-scale="7" data-icon-mode src="https://freight.cargo.site/w/1000/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" /> https://parallelfoundation.com/2025-11-21-2026-01-18-Ditta-Sarfenstein-Inventory Fri, 03 Oct 2025 16:45:23 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2025-11-21-2026-01-18-Ditta-Sarfenstein-Inventory <img width="1000" height="665" width_o="1000" height_o="665" data-src="https://freight.cargo.site/t/original/i/5753b301d34fe0a09fdd0454dd063ea40950ecc42a80e3d34e5b7e0c2f24a0b6/Sarfenstein-Ditta_Leltr_CAIRO_FBcover_kicsi.jpg" data-mid="240611771" border="0" src="https://freight.cargo.site/w/1000/i/5753b301d34fe0a09fdd0454dd063ea40950ecc42a80e3d34e5b7e0c2f24a0b6/Sarfenstein-Ditta_Leltr_CAIRO_FBcover_kicsi.jpg" /> 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. /// 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 &nbsp; instagram.com/Cairo.Contemporary instagram.com/parallel.art.foundation <img width="400" height="125" width_o="400" height_o="125" data-src="https://freight.cargo.site/t/original/i/4af24d18df18c8260a983426c05a0e8d574a50ab1171f29deffa5b2b305269f2/Erzsebetvaros.jpg" data-mid="238988798" border="0" data-scale="5" data-icon-mode src="https://freight.cargo.site/w/400/i/4af24d18df18c8260a983426c05a0e8d574a50ab1171f29deffa5b2b305269f2/Erzsebetvaros.jpg" /> &nbsp; &nbsp;<img width="1166" height="669" width_o="1166" height_o="669" data-src="https://freight.cargo.site/t/original/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" data-mid="238988800" border="0" data-scale="8" data-icon-mode src="https://freight.cargo.site/w/1000/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" /> <img width="646" height="160" width_o="646" height_o="160" data-src="https://freight.cargo.site/t/original/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" data-mid="238988799" border="0" data-scale="5" data-icon-mode src="https://freight.cargo.site/w/646/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" /> https://parallelfoundation.com/2025-12-05-2026-01-09-Anna-Eszter-Setenyi-Kitchen-Debate Mon, 29 Sep 2025 11:51:36 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2025-12-05-2026-01-09-Anna-Eszter-Setenyi-Kitchen-Debate <img width="1200" height="901" width_o="1200" height_o="901" data-src="https://freight.cargo.site/t/original/i/852cf7e9c577fbfeb1826d60d4af573fa8a827c8399ba1d4edeecf1055328848/Setnyi-Anna-Eszter_Kitchen-Debate.jpg" data-mid="238789624" border="0" src="https://freight.cargo.site/w/1000/i/852cf7e9c577fbfeb1826d60d4af573fa8a827c8399ba1d4edeecf1055328848/Setnyi-Anna-Eszter_Kitchen-Debate.jpg" />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. /// 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. <img width="1166" height="669" width_o="1166" height_o="669" data-src="https://freight.cargo.site/t/original/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" data-mid="238789622" border="0" data-scale="8" data-icon-mode src="https://freight.cargo.site/w/1000/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" />&nbsp; &nbsp;&nbsp;<img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/eea252c6a2e477950796446a0a94cdb9b7f7bfaf6e70579f910df002d9a47688/Jozsefvaros.jpg" data-mid="238789623" border="0" data-scale="9" data-icon-mode src="https://freight.cargo.site/w/900/i/eea252c6a2e477950796446a0a94cdb9b7f7bfaf6e70579f910df002d9a47688/Jozsefvaros.jpg" /> https://parallelfoundation.com/2025-11-07-30-Kamilla-Szeli-Remus Sun, 27 Jul 2025 16:59:51 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2025-11-07-30-Kamilla-Szeli-Remus <img width="1024" height="601" width_o="1024" height_o="601" data-src="https://freight.cargo.site/t/original/i/f9cd9ad14fb8511480a4035607485e740a1516ee6492125542d707736e6e7af9/Remusz_1_net.jpg" data-mid="236309694" border="0" src="https://freight.cargo.site/w/1000/i/f9cd9ad14fb8511480a4035607485e740a1516ee6492125542d707736e6e7af9/Remusz_1_net.jpg" /> 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 /// 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 https://parallelfoundation.com/2025-09-29-11-16-Gergely-Horvath-Inventory Sun, 14 Sep 2025 14:42:49 +0000 Parallel Art Foundation / Parallel Művészeti Alapítvány https://parallelfoundation.com/2025-09-29-11-16-Gergely-Horvath-Inventory <img width="1400" height="933" width_o="1400" height_o="933" data-src="https://freight.cargo.site/t/original/i/c353127e58dd3254442bde5ce6c81b4f652d09344cf356ce9d21e93a2c5939a7/Horvth-Gergely_Raktrkszlet_CAIRO_.jpg" data-mid="238213076" border="0" src="https://freight.cargo.site/w/1000/i/c353127e58dd3254442bde5ce6c81b4f652d09344cf356ce9d21e93a2c5939a7/Horvth-Gergely_Raktrkszlet_CAIRO_.jpg" />Gergely Horváth Breadman 2025 09 29 - 11 16 Cairo Contemporary Gergely Horváth's installation entitled Inventory consists of elements shaped like terracotta galls, enlarged by a change of scale and placed in a warehouse setting. The gall is a powerful symbol for the artist. It simultaneously fulfills the role of a parasite and a life-giving cradle. He believes that this duality, whereby nothing is black and white, i.e. everything is grey, characterizes all areas of life. On the other hand, scouting played an important role in the artist's life for a long time, and the gall is an unavoidable symbol of this in Hungary. He made these forms out of terracotta, striving to choose a material that was as close to the earth as possible. He found clay to be the most suitable for this. The possibility of playful variations hidden in the modularity of the elements is also very inspiring for the artist. The main starting point for Gergely Horváth's works is nature, through which he examines the relationship between nature and humans. He is concerned with human ecological issues such as how humans relate to nature in a given age and society, and what role it plays in our lives today. Fruits and plant motifs such as galls, trees, and thorns appear as recurring elements in his works, which are associated with both personal and symbolic layers of meaning. The perspective of the child self cannot be omitted from the creative process, which evokes the act of gathering and the experience of marveling at the world. The fruits found in nature are strange formations in themselves, with a diverse range of shapes, each unique and unrepeatable: he emphasizes this way of being in his unique sculptures, which are crafted manually using traditional woodcarving techniques. He most often works with hardwoods—walnut, acacia, or oak—which allow him to create delicate, detailed forms. In addition to other organic materials such as terracotta and living plants, his works are also made of cast metals and iron, because he believes that the contrast between the materials emphasizes the natural-artificial duality. In addition, he always strives to think in new ways about new media and to incorporate new materials into his creative work. Recently, in addition to plastic thinking, he has also been preoccupied with visual thinking: his latest works raise questions such as where the boundary between sculpture and wall sculpture lies and where the image begins. Gergely Horváth graduated from the Hungarian University of Fine Arts in 2025 with a degree in sculpture. He has exhibited at the 2024 National Ceramic Art Triennial at the m21 Gallery in the Zsolnay Quarter in Pécs; in Budapest at the Eötvös10 Gallery and at HAB. In 2021, he won the Amadeus Art Foundation's creative scholarship, and in 2025, and he is a Tamás Vígh Awardee for best sculpture with his diploma work. /// 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 instagram.com/Cairo.Contemporary <img width="400" height="125" width_o="400" height_o="125" data-src="https://freight.cargo.site/t/original/i/4af24d18df18c8260a983426c05a0e8d574a50ab1171f29deffa5b2b305269f2/Erzsebetvaros.jpg" data-mid="238213072" border="0" data-scale="5" data-icon-mode src="https://freight.cargo.site/w/400/i/4af24d18df18c8260a983426c05a0e8d574a50ab1171f29deffa5b2b305269f2/Erzsebetvaros.jpg" /> &nbsp; &nbsp; <img width="1166" height="669" width_o="1166" height_o="669" data-src="https://freight.cargo.site/t/original/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" data-mid="238213071" border="0" data-scale="7" data-icon-mode src="https://freight.cargo.site/w/1000/i/b286870fed37e81177b0764bde7b49b03d4b268354c914091a0596ba4e1a6c9c/MMAlogoC_1_ketsoros.jpg" />&nbsp; &nbsp;<img width="646" height="160" width_o="646" height_o="160" data-src="https://freight.cargo.site/t/original/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" data-mid="238213073" border="0" data-scale="4" data-icon-mode src="https://freight.cargo.site/w/646/i/c4aa55f2f14d9e77cf8ad8826004a3187bfae744a0278450c2d0d7ba222c012b/Bisitz-Johanna.jpg" />