“Coexist is a ninety-minute artwork. Larger, more impressive and even more realistic than it could ever hope to be if exhibited in any museum. It is something that demands to be scrutinised in detail, opening up to the watchful gaze bit by bit, until it almost clobbers the onlooker. But this is a good thing […] Go experience this evening! Get involved with it – and if the gears in your head do not start moving immediately, take home what you’ve seen. Think about it. Sleep on it, talk about it. Change something in your life!” (Marcus Behrens, Bremen Zwei)

“Such rousing cheer has not been heard in Theater Bremen’s Kleines Haus for a very long while. With a demonstration of acclaim at volumes that barely registered lower than those displayed by Hungarian media artist Ábris Gryllus’ lashing live soundtrack, the premiere audience celebrated “Coexist” last Friday night, a work as enchanting as it is discomforting, by Budapester Adrienn Hód, a constant aesthetic boundary pusher. […] It would be desirable to have Hód guest at the Theater Bremen in the foreseeable future, again presenting such a rigorous, ruthless and radical work.” (Hendrik Werner, Weser Kurier)

“At the end of a season showing Theater Bremen’s dance department in upheaval, Hód’s workreceives reward with extraordinarily sustained, excited applause. It is directed towards a theatreevening, we have been hinting at this at the beginning, that attracts attention by means of lots ofdenudation, which is expressly also politically coded. In the second row of solo miniatures that open “Coexist”, we find Jessica Simet, one of two Hungarian guests, with a suitcase artfully hiding her nudity, only to then have her dedicate her solo to censorship in the end.” (Rolf Stein, Kreiszeitung)