Modern & Contemporary Art Exhibitions in Budapest

In folk belief, the red boot appears as a means of taming a forest creature known as the ‘wild maiden’, which can be interpreted as a symbol of coercion into the patriarchal order. The work subverts and reclaims this symbol: the boot becomes the embodiment of Virginia Woolf’s ‘a room of one’s own’, taking on monumental proportions and providing a space for the experience of a wild, autonomous inner world. In this way, the process of taming is turned inwards; rather than subduing our inner wildness, it reinforces self-discovery, liberation and reclaiming.

The installation Father’s Three Hands will be unveiled on September 4, 2026, at the exhibition space PUCCS Contemporary in Budapest. The installation Father’s Three Hands revolves around themes of trust, power dynamics, and manipulation, as well as societal imbalances and darker sides. Additionally, the work explores impermanence in both material and organic contexts. The visual expression of the piece draws from human anatomy, with the artist's specific inspiration stemming from educational anatomical charts of hands. The artwork consists of three free-hanging surfaces sewn together from textiles and shaped like three hands. Measuring 250 cm each, the three pieces are suspended from the ceiling by metal chains. Father’s Three Hands is crafted from coarse and fine linen, silk, and tulle. The nearly transparent silk and tulle stand in sharp contrast to the rough linen. The textiles have been treated using a graphic technique where patinated copper creates a turquoise print on the fabric. Furthermore, the linen has been colored using metal water and imprint from chains, leaving the material with deep brown shades. The combination of the textile's texture and the metal's patina creates a visual effect that evokes the decay of the body, exposing flesh and bone through the process of decomposition. The title Father’s Three Hands refers to the Holy Trinity: the Father, the Son, and the Holy Spirit. In this installation, however, the hands take on a different meaning. They do not point toward harmony, but toward a world marked by unrest and inequality. Two of the hands form a pair, while the third stands apart, suggesting something uncontrollable and disruptive. The focus shifts from the divine to the primal and fragile aspects of human nature—the sides we cannot always control, such as violence, betrayal, hidden intentions, and paralysis. In her practice, Ditte Marie Frost takes her point of departure in the subconscious and the obscured aspects of our world, where everything is in constant flux. Frost works across the mediums of installation, sculpture, and painting, using materials such as oxidized copper, steel, brass, iron, oil paint, and textiles. In her works, Frost combines sculptural elements made from various metals and textiles. The textiles are bleached and patinated by oxidized metals through a specialized technique. Frost is drawn to the utilization of chemical processes, as they leave an expression in the works that balances between the uncontrollable and the predictable. The patination and corrosion processes used in Frost’s works reflect one of the overarching themes in her practice: impermanence and transformation. Frost’s motifs draw from insects, weapons, and human and animal bodies. By combining bodily figurations with oxidized metals, she creates a space that oscillates between destruction and creation. For her motifs, Frost finds inspiration in alchemy, religion, and film—particularly genres such as horror, sci-fi, and body horror. In her artistic practice, Frost is furthermore inspired by Julia Kristeva's and Carl Jung's ideas on consciousness.

Évfordulót ünnepel az INDA szeptember 10-én nyíló kiállítása. Éppen húsz éve, 2006 szeptemberében indult útjára a galéria. A mostani kiállítás témája ennek jegyében az emlékezés. A most velünk dolgozó művészektől és az általunk képviselt, sajnos már elhunytaktól válogattunk olyan munkákat, amelyek valamilyen formában az emlékek, emlékezet, emlékezés témájához köthetők. A tárlaton Kim CORBISIER, CZENE Márta, CSÁKY Marianne, CSONTÓ Lajos, CSORBA-SIMON István, Alexandra DEMENTIEVA, KARÁCSONYI László, KAZINCZY János Antal, KOVÁCH Gergő, George LEGRADY, LIKSAY Csenge Gyopár, LOVAS Ilona, MARTIN Henrik, METZING Eszter, NAGY Barbara, NEOGRÁDY-KISS Barnabás, RAVASZ András, SCHWÉGER Zsófia, SZABÓ Ádám, SZABÓ Eszter, SZÁSZ Lilla, SZEMZŐ Zsófia, SZENTELEKI Gábor, SZŐKE Gáspár, URAY-SZÉPFALVI Ágnes és ZELLEI Boglárka Éva művei lesznek láthatók. Szeretettel várunk mindenkit születésnapi csoportos kiállításunk megnyitójára, egy kis ünnepi hangulatú borozásra és zenei aláfestéssel fűszerezett laza, kötetlen beszélgetésekre a kiállító művészek társaságában!

Attila Bagi, Imre Bukta, Róza El-Hassan, Péter Gallov, Timo Herbst, Gideon Horváth, Anna Hulačová, Áron Konrád, Péter Koppányi, Botond Keresztesi, Áron Lőrincz, Hortensia Mi Kafchin, Jonathan Monk, Ciprian Mureșan, Luca Pataki, Rade Petrasevic, Gábor Pintér, Judit Reigl, Maruša Sagadin, Kata Tranker, Dorottya Vékony, János Brückner, Julie Béna

The scent and beauty of flowers make many of us enthusiastic, and we often express our feelings with flowers, both in everyday life and when celebrating or at a final farewell. But our relationship with plants is broader and more complex. In fact, in many ways, plants define our lives. They can provide food, medicine, fuel, materials for making things, or even substances used in rituals and spiritual practices. Being around them can bring comfort and even help our mental healing. It's hard to imagine existing without them. But in this relationship, humans are still mostly the dominant side. To get our food or fulfill our desires, we make plans and then carry them out: creating gardens, doing agricultural activities, planting forests or cutting down trees, and even working with aquatic plants. Humans have been tending to, protecting, and propagating plants since time immemorial, collecting and sowing seeds, pollinating them or feeding them from pests, whether their goals are practical or ritual. According to anthropologist Debbora Battaglia, we create "entire worlds that turn around plants, sites in which people and their attendant techniques, technologies, and magic get caught in the spiralling whorl of plant beings and doings." The garden is one of these places, the garden that, by becoming a cultural form, also points to social positions, and even hints at our ideas and ideals about the whole world. But gardens can also serve scientific purposes. Botanical gardens make it possible to learn about species by using methods of classification and providing lab conditions and they can help to get information not just on how to use exotic or newly discovered plants, but they can also play a role in their survival. Vertical gardens not only protect from the heat, but also provide space and food for insects. No matter where plants live, they involve entire ecologies of other living beings in their life rhythms, including birds, fungi, and micro

The scent and beauty of flowers make many of us enthusiastic, and we often express our feelings with flowers, both in everyday life and when celebrating or at a final farewell. But our relationship with plants is broader and more complex. In fact, in many ways, plants define our lives. They can provide food, medicine, fuel, materials for making things, or even substances used in rituals and spiritual practices. Being around them can bring comfort and even help our mental healing. It's hard to imagine existing without them.