“Zsuzsanna Paál has already had many live exhibitions. It is difficult to imagine an exhibition where she is not present as an artist and essential creator of her own art. It is not the sleepy silence of museums, exhibition spaces and distant artworks she had chosen. She votes for a realm full of life. A young artist who integrates the mysticism of giving birth into her art. This scenery might resemble the selfless dance of priestesses in the cool silence of archaic temples where the notion of time was absolutely useless.” 

“In this performance she creates a state with the elements of water, light and noise which will become materials for the final exhibition. Thus, the artist is creating her own exhibition for us right here, right now. As we know, the relationship with the audience is most important in artists’ lives. But this thing here is so much different. It is direct. Almost a kind of co-creation for both artist and visitors. So much different from the impersonal messages of guest books which get lost even after a couple of days and months. Artists might never know the author of those lines and the visitor might never see the artist in the process of creation.”

“The fetishism of puppets composes a specific realm in the art of Zsuzsanna Paál. Not merely because this realm is rich in forms and creativity and she is originally an animation artist. But also because she has been intuitively following the ancient human desire and tradition to create forms and the environment into sculptures, into wood and figures. Moreover, we can mix these figures and sculptures according to our taste and we fall into love with them so much that a figure grows out of its own reality and starts living its own life in an imaginary world.”


“It gets fetishized and loaded with mysterious and supernatural forces. It is not a cold and rigid sculpture since it’s animated and moved. And not even pedestalled but saved from its motionless state and bathed with water, lights and melodies.”

Silent Herons


Kuny Domonkos Museum, Tata

One element of the composition is an image projected on the wall which is merged with the shadows of creatures standing around the pool. Water lilies have found their new habitat in the pool and now they are continuously floating and wobbling on the illuminated surface by means of a piece of equipment manipulating the water. One aspect of nature got a special emphasis in the exhibition space. This is what animation director Ferenc Cakó said in the opening ceremony:

Here we can witness a unique, compositional and balanced artistic atmosphere which makes us (sometimes rushy, sometimes inert couch potatoes) slow down, think and experience something mystical and ancient. We need to have different eyes to see these artistic expressions. The audience might need to loosen up our restraints in order to perceive a different kind of vision and scene. This is the mystery of water, light, sound, the “ever-changing” and unrepeatable. A kind of revelation that can be seen only here at this moment. A kind of birth from water, light and sound and at last but lot least from our vital force, from movement.”