Klára Kuchta’s (*1941) exploration of hair within her artistic practice provides a profound commentary on the intersections of identity, culture, and societal norms. The mythologizing and fetishizing of hair have been prevalent across many cultures throughout history, yet incontemporary mass culture, this phenomenon takes on new dimensions and the pressures of conforming to societal beauty standards that particularly intrigued Kuchta.

Her artistic inquiry delved into the practice of women bleaching their hair blonde, examining it through the lenses of both current fashion trends and historical contexts. Kuchta’s research was meticulously structured around three main themes: hair as a phenomenon, hair of living and dead individuals as everyday objects, and hair as a facet of tradition. This framework enabled her to critically assess how hair functions as a symbol within society.

For instance, her work «Tableaux statistiques» ( 1975–75) presents findings from sociological research on hair care practices in Europe, highlighting the societal emphasis on appearance and grooming. In «Venetian Blonde» ( 1978), performed at the Palazzo Grassi, Kuchta sought to reconstruct the hair-dyeing rituals of 16th-century Venetian women, bridging historical practices with contemporary issues.

Kuchta’s investigations reveal a critical dialogue about the relationship between femininity and societal expectations. Rather than presenting an abstract representation of femininity, her work invites the viewer to witness a woman actively engaging with and questioning the societal narratives surrounding beauty and identity. This introspection makes her contributions to contemporary art not only visually striking but also intellectually rich, offering a deep commentary on the complexities of womanhood in the context of cultural norms.

The Hungarin female artist living in Switzerland since 1972 has exhibited her work in solo and group exhibitions at the Kunstmuseum Bern, Museum Bellerive Zürich, Kunstmuseum Luzern, Kunsthalle Budapest, Ludwig Museum Budapest, Städtische Galerie im Lenbachhaus Munich, Palazzo Grassi Venice, Centre Pompidou Paris, and most recently at the MAMCO in Geneva.

Judit Kis (*1988) is an intermedia artist and researcher whose work delves into the complex relationship between personal growth, vulnerability, and collective care. Her practice is deeply rooted in the belief that healing is not only an individual process but a transformative force for communities. Drawing on a broad spectrum of influences, she explores themes such as anxiety, self-doubt, and emotional resilience, using them as starting points for deeper reflection and connection.

A central element of her work is a series of brick-shaped sculptures made from materials like ceramic, wood, marble, metal, and semiprecious stones. These pieces symbolize emotional weight, human virtues, and the invisible barriers we carry. Engraved with evocative words, the bricks invite tactile engagement and reflection, encouraging viewers to confront their own inner landscapes and shared experiences.

Kis’s artistic inquiry extends beyond the personal, engaging with mental health, spirituality, and social healing. Her work acts as a bridge between individual stories and broader societal themes, using creative expression to foster empathy, dialogue, and resilience.

Dividing her time between Budapest and Berlin, Kis is also known for her pioneering contributions to ecological art. In 2022, she presented solo exhibitions such as Surrender at Kahan Art Space and the duo show Strategic Stillness in New York. In 2023, she was featured in several group exhibitions, including Queer Art Spaces at Kunsthalle Exnergasse in Vienna, The Sanctuary at Motherboard Artspace, La sustancia de la revelación in Mexico City, and Handle with Care at the Ludwig Museum in Budapest.

Kis has received numerous awards, including the ACAX – Leopold Bloom Award, the Young Visual Art Award, and the Derkovits Art Grant, which led to a major exhibition at Kunsthalle Budapest. She has completed residencies at Artist Alliance Inc. and Residency Unlimited in New York and, in early 2025, returned to the city with a Ludwig Stiftung research grant to further expand her artistic dialogue.