The Vampiress / Upírka, 2019

Family / Rodina, 2019

Portrait with Maya / Portrét s Májou, 2020

Portrait of Adam Štech / Portrét Adama Štecha

Bride / Nevěsta, 2019

Havel, 2020

The Huntress / Lovkyně, 2019

Adam Štech‘s paintings are inspired by real and found stories, as well as the confrontation of individual artistic expression. He refers to different historical periods, from Baroque to Cubism. His work is represented in many private and public collections in the Czech Republic and abroad. He recently had an exhibition ‘Deviant Dichotomy’ in Ascaso Gallery in Miami, USA.

Adam Štech invites the viewer to step into an alternate reality where recognizable figures are dragged, stretched, and reassembled into contorted portrayals of their former selves. The Czech painter commenced his formal studies at the Academy of Fine Arts in Prague where he began to compile the techniques of baroque, expressionist, and cubist forms, fusing them to conceive his own approach to modernist art. His distinct approach is characterized by collaged and caricatured figures implanted into humorous - and inevitably idiosyncratic - circumstances of his alternate reality. No one is precluded from becoming the subject of Štech’s warped creations; the Czech painter is known for extracting individuals from his personal life to feature as the muse of his peculiar paintings and mosaics. His propensity for absurdity and parody allows him to dismember and reconstruct any reality, including his own. His witty personality is exemplified by his self-portraits, in which he implants himself completing a painting in peculiar scenarios. Though the artist’s unorthodox paintings may appear arbitrary and unmethodical, each of his creations commemorates the technicalities and intricacies of modernist expression that is neglected in favor of other expressions. 


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 Kleine weisse Kirche, 2022

Son of dawn, 2022

Ocean, 2015-6

Weiping Song, 2016

Study for a head, 2021-22

Alexander Tinei is a Moldovan artist who has been working and living in Hungary for more than ten years. His works usually begin with photographic material from various media. He then places these figures in a new context. Their bodies are depicted in a unique way, through a set of venous, coloured, stigmatic signs. Details painted with almost anatomical precision are contrasted with often roughly produced abstract surfaces. The artist transplants subjects from digital photos onto canvases as a means of considering the body’s movement through time and space. In addition to symbolic oil paintings, he also creates collages, acrylic paintings, watercolors, graphics, and installations. The main focus of his art is the relationship between time and the human body; surroundings and objects rarely play a significant role. On the other hand, time is presented in its permanence, as bodies removed from their original context (photography and painting) always appear in some strange, somber, dreamlike, timeless space. As Tinei’s artistic expression continued to evolve, piercing tattoos akin to a web of blue veins began to bloom on his muted, dissociative figures. His embrace of artistic expression through muted pigments, detached figures, and cobalt tattoos exemplify Tinei’s breach and deciphering of contemporary art.

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Andrej Dúbravský was born in Nové Zámky, Slovakia in 1987. He now lives and works in Rastislavice, Slovakia, and New York, USA. Inspired by the rural perspective of the organic garden and studio he maintains in countryside of southwest Slovakia, Dúbravský creates depictions of idyllic landscapes, silhouetted skylines of factories, self-portraits, animal portraits, and studies of male figures that confront timely issues of agriculture, industry, politics, identity, and sexuality. His works reflect an “ethical hedonism” and sustain utopian ideals under rather dystopian conditions. The artist’s paintings articulate his reflections in empathetic yet unsparing studies of the environment and its devastation of man and nature. His broad art-historical repertoire is reflected by his most recent works, which explore contemporary versions of classical subjects such as the landscape or the nude—quite seriously and diligently in some instances, with aloof irony in others. The muted colors seem almost conservative until the beholder notes the contemporary and post-traditional context in which the paintings are set.

His work is represented in public collections of the Bratislava City Museum in Bratislava, Slovakia and the Slovak National Gallery in Bratislava, Slovakia. He is currently having a solo exhibition in Berlin in Dittrich & Schlechtriem gallery (on view until 1st July 2023). He has already exhibited in this gallery in the years 2014, 2017 and 2019. His work was also exhibited in USA, Italy, France, Hungary, Serbia or Brazil. DSC Gallery has already presented two of his solo exhibitions - On-line camp in 2015 and Birds and Winds 2 in 2018.

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Untitled, 2022

Untitled, 2017

Untitled, 2020

n.n., 2022

Untitled

Molded by the neon-lit punk scene of 1980s Berlin, Anselm Reyle draws inspiration from his immediate surroundings — functionalist architecture of the ever-changing post-war Germany, flea-market found objects, shop-window mannequin glitz — all of which reflect the rapid rise of global capitalism and its cast-off material culture. Though his artwork has been publicly criticized as being 'superficially seductive' or 'uber-kitsch', this is the very intention behind his art: Reyle confesses, ‘I’m interested in riding the border of tastelessness‘. This statement hints at Reyle’s interest in the gap between a decorative object and an artistic artifact, or more simply, the difference between art and product. This relationship is exemplified by Reyle's recent collaboration with the French luxury fashion house, Dior. Reyle's affiliation with today's fashion brands contrasts with his recurrent repudiation of modish, contemporary painting, which he often dismisses as figurative pseudo-Expressionism. Nevertheless, his admiration of painter-photographer Sigmar Polke and visual artist Gerhald Richter is consistent with his desire to explore the role of modernism in lifting artifacts from recent art history. Reyle has exhibited in the finest international galleries, including the prestigious Gagosian Gallery.

Radiant Adventure

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David Bowie 

Debbie Harry

Liv Tyler

Glaciers Patagonia

Antonín Kratochvíl (*1947) lives a life of peril and adventure, similar to the epic hero Odysseus'. After fleeing Soviet Czechoslovakia in 1967, he spent time in a refugee camp in Austria, was imprisoned in Sweden, and sustained significant injuries while serving in the French Foreign Legion before settling in the Netherlands and studying photography at the Gerrit Rietveld Academy in Amsterdam. When he married an American woman in 1972 and relocated to the United States, he began working as a photographer for prominent magazines such as Vogue, Rolling Stone, New York Times Magazine, Los Angeles Times Magazine, and Detour. During this cooperation, he created legendary photographs of David Bowie, Keith Richards, William Defoe, and Liv Tyler.

Despite moving overseas in quest of freedom, he frequently returned to totalitarian countries as a documentary photographer. He documented the genocide in Rwanda, the life of Bosnian refugees, the AIDS pandemic in Zimbabwe, and drug cartel operations in Guatemala. He was imprisoned in Ethiopia, illegally entered into Iraq in a rented van, and in Afghanistan, an illiterate soldier threatened to shoot him because he couldn't read his American passport. Kratochvíl's renowned documentary images earned him a spot on American Photo magazine's list of the world's top 100 photographers in 1999. Kratochvíl has received three World Press Photo prizes and presented his work in the National Gallery and leading galleries worldwide.


FACES

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Untitled, 2024

Bosco Sodi's work spans the continents of Central and North America, Europe and Asia, with studios in Mexico, New York City, Greece and Japan. Each of these destinations is inscribed in his work. Within the traditional categories, the work ranges from raw informel, colorism, art povera and land art. Humility to accept things as they are, appreciating simplicity and accepting imperfections are, in turn, some of the principles of Japanese philosophy, which stand in opposition to the Western ideal of beauty. For example, the desired surface according to wabi-sabi is earthy, imperfect and yet diverse. Bosco's paintings, which are based on the observation of nature, have just such textures. Sabi refers to beauty that can only be achieved through the natural processes inherent in the passage of time. Therefore, patience is the essential element of Sodi's painting. 

Transmutations

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J. Robert Oppenheimer, 2016

Skull, 2013

Sex, 2013

Švankmajer, 2013

Some consider David Černý sculptures to be the manifestations of brilliance; others regard his works as the mere “happenings” of an egocentric provocateur. Regardless of one’s appraisal of his works, it is undeniable that the Czech artist has made a palpable impression on the contemporary art industry and the global socio-political climate. In 1988, Černý began his studies at the Academy of Applied Arts in Prague with intermittent residencies in New York City, United States and Boswil, Switzerland. Černý’s inconspicuous practices abruptly ceased after the rising artist painted a Soviet battle tank bright pink in Náměstí Kinsky in central Prague. The inception of the pink tank and the bifurcated response from both the art and political community alluded to the future of David Černý’s unflinching sculptures that continue to cleave the international community today. Though Černý is most credited for his immense public installations, he continues his work in galleries across Czechia and Europe. Within enclosed spaces of a gallery, spectators can appreciate the craftsmanship of his polymer resin sculptures. Whether Černý’s creations are exhibited within the structured walls of a gallery or the boundless spaces of public squares, the force of defiance surges through the veins of David Černý’s compositions.

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Das sanfte Sich-Anschmiegen der Schuld, 2022

Die Fluchten der Wiederholung, 2021 

Das Lied der Vollendung, 2022

Maschinen voller kleiner Flammen, 2022

I want nothing in return, just the softest little breathless word, I ask of you, 2022

Die Intimität des reinen Verlusts, 2022

Dennis Scholl lives and works in Berlin. He went through an interesting artistic development, gradually moving from monochrome pencil drawing to color on canvas. Scholl first began to carefully introduce color in 2015, initially in the form of chalk or crayon. He slowly made his way from red chalk drawings to pastels to colored pencils, and since 2017 he has fully switched to the oil paint technique. The compositional sophistication of Dennis Scholl’s works offers the possibility to progress through his paintings incrementally, and discover all its hidden corners bit by bit. Scholl proves himself a master-builder of narrative, carefully assembling its fragments into collages. Faces, bodies, plants, and other organic elements, structures, and materials come together to create a cohesive whole. Viewers of Dennis Scholl’s art enter an enigmatic, multilayered world. In this universe created by the artist, the onlooker meets characters that are both strange and funny, gaining insights into their quarrels and romances and becoming a participant or voyeur. Here, hair and tongues become trees and the human plant poses bucolically like a faun amid metamorphic tapestries and meandering landscapes. To approach the works of German artist Dennis Scholl is to engage with the entire circulatory system - not just the human one. It moves beyond the veins of a hypothetical viewer to include the sap of the entire world. Therein lies the most profound aspect of the artist's work: in the visible and invisible connections, the lines that links ones gaze to anothers, in the nebulous energy of the forces of nature. Everything is undulating. Scholl's images flow, even when they tear, even when a severed snake gets caught between the antlers of a deer.

The Song of Inclination

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Rony Plesl - Manhattan Night

Milan Knížák - Eruption

Rony Plesl (*1965, lives and works in Prague, Czech Republic) ranks among top internationally acknowledged artists in the field of glass sculpture. His unique oeuvre emerges from his deep knowledge of quality glassmaking and the technologies he employs in his original designs and primarily in his artistic work. In collaboration with glass professionals, he shifts the perspectives of the possible in the medium of glass both for contemporary art and for his own body of work.

Milan Knížák was born on 19 April 1940 in Pilsen. He lived with his parents in Blovice, where his father, Karel Knížák, worked at the burgher school. In 1945 Karel Knížák went to teach in Mariánské Lázně, where Milan Knížák started to go to school. From 1990 to 1997 he was the rector of the Academy of Fine Arts in Prague, where he headed the Studio of Intermedia Art from 1990 to 2015. From 1999 to 2011 he was the Director General of the National Gallery in Prague. He has organized more than 100 solo exhibitions and participated in hundreds of joint exhibitions almost all over the world. He has published dozens of books and catalogues and several music CDs. His works are represented in many domestic and international collections, e.g.: the Memorial of National Literature, Strahov, Prague, Czech Republic; Stadtgalerie Stuttgart, Germany; Museum Sprengel, Hannover, Germany; Silverman's collection, Michigan, USA Neuberger Museum, N.Y., USA.

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Notions of Loss, 2022

Applebum, 2022

Swing Low, 2022

Pleasure Centre, 2022

Growth and Expansion, 2022 

I Think Of Thee Twine And Bud, 2022 

Fulcrum, 2023

The Thin Membrane Between Us, 2024

Convallaria majalis (Lily of the Valley), 2024

She Has The Shape of My Hands, 2024

Ladies Lunching, 2024

The Space Between Us, 2023

Stretched Out On Your Shadow, 2024

Through Our Lust, We Hope, We Seek To Die And Live Forever 2024

There Is No Gate, No Lock, No Bolt That You Can Set Upon The Freedom Of My Mind, 2024

Lamprocapnos (Bleeding Heart), 2024

From The Sweet, Deep Throat Of The Night Flower, 2022

With Your Mouth As A Pillow, 2024

Helen Beard (b. 1971, Birmingham, UK) studied at Bournemouth and Poole College of Art and Design and went on to have a fifteen year career as an assistant art director in the film industry. During this time, Helen continued with her artistic practice, working in the diverse mediums of paint, collage and needlepoint. Her work vibrates with movement and colour in a celebration of the erotic experience. Using a vibrant palette and an ever changing framework: from close-crops to wide shots, to create a landscape of intimacy. She portrays sexuality in raw and bold canvases. All without fail filled with expression, colour, an acute sense of framing, and an unmistakable interplay between abstraction and realism. “I do love the abstraction I get from a very zoomed in point of view where the forms and the colours are indistinguishable and quite powerful.” Beard says. Her paintings are a textural fusion between form and colour, utilising sinuous brush strokes in a motion akin to stroking skin.
She has exhibited in numerous group shows, including ‘True Colours’ (2018) at Newport Street Gallery. Solo shows include ‘It’s Her Factory’ (2019) at Unit London and ‘The Desire Path’ (2020) and ‘The Tulips are Too Excitable, It Is Winter Here’ (2023) at Reflex Amsterdam. Helen’s work has also been translated into a series of silkscreen prints, produced with UNIT Drops, Reflex Amsterdam and Paul Stolper Gallery.

Topography of desire

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They Met in front of the Shop Window / Potkali se před výlohou, 2022

A Flower in a Purple Vase (Blue Background) / Květina ve fialové váze (Modré pozadí), 2022

Stone I (Leg) / Kámen I (Noha), 2023

Stone V (Arm) / Kámen V (Ruka), 2023

They Met in front of a Shop Window and He Was Staring as if He Couldn’t Stop /  Potkali se před výlohou a čuměl, jakoby neuměl skrývat své pohledy, 2023

They Met in front of a Shop Window and the Ear Grew Bigger / Potkali se před výlohou a ucho se zvětšilo, 2023

They Met in front of a Shop Window and He Was Staring as if He Was about to Press a Button / Potkali se před výlohou a čuměl, jako by měl zmáčknout tlačítko, 2023

They Met in front of a Shop Window (The Blond Guy) / Potkali se před výlohou (Blondýn), 2023

 Stone IV / Kámen IV, 2023

In the Bush / V keři, 2023

 Stone III / Kámen III, 2023

Water Sprite II (Once You Enter the Element, You Have to Learn to Swim in It) / Vodník II (Do elementu vstoupíš a už se v něm musíš naučit plavat), 2023

Unicorn / Jednorožec, 2021–23

In the Bush II. (Home Alone) / V Keři II. (Home Alone), 2023

Jakub Matuška aka Masker has gained a special position on the Czech art scene with his unmistakable illustrative handwriting, his demonic imagination and his affinity for comic book shortcuts.

'How should one be?' is the existential question that radiates within the nucleus of Jakub Matuška’s seemingly psychedelic paintings. The Czech-born artist's studies began at the Academy of Fine Arts in Prague. Similarly to many of his predecessors, Matuška studied the traditional teachings of the Old Masters as a foundation for his artistic career. Throughout the course of his studies, Matuška drew inspiration from the abstract visions of Spanish painter Joan Miró, the early-Surrealist works of Spanish painter Pablo Picasso, and the fantastical triptychs of Dutch painter Hiermonyous Bosch. Building off their artistry, Matuška has etched his own artistic personality. In a vortex of neon pigments and amorphous figures, the classical teachings of the Old Masters and the euphoric images of contemporary media have coalesced in Matuška’s work. The scrutinization of the psychospiritual plane alongside the convergence of reality and imagination are palpable across Matuška’s oeuvre. His pieces recurrently feature the dissociative profiles of nebulous figures drifting through the scenes of a melting reality. Though Matuška crafts an otherworldly experience for the viewer, his exploration of urban life and the perplexing uncertainties of existence remain grounded in our contemporary world.

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Three sitting girls, 2017-19

Bouquet, 2018

Interiér kostela, 2017

Svatý Jan Pod Skalou, 2017

Peacock Butterfly, 2017

Meadow Bouquet, 2021

Zátiší s křeslem, vázou a vlčím mákem, 2023

Kytice ve světle, 2023

Bez názvu, 2023

Zlatý lustr, 2023

Mírně žlutý bělásek, 2023

A typical feature of Jakub Špaňhel's work are cycles that are mostly devoted to a single theme based on the artist's perception of everyday life. He describes his painting style as "expressive impressionism" and likes to say that he always paints things that exist in reality. He manages to captivate both with his inherently expressive painting gesture, as well as by painting with specially made rollers, where he works with a very reduced, repetitive nature of his subjects. Thus, on one hand, we encounter motifs of temple interiors, chandeliers, landscapes, central bank buildings, gas stations, portraits, flowers and butterflies. On the other hand, there are patterns of beer pulliters, crosses, boats, ballerinas, Chimera and John of Nepomuk.

From My Country

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V klíně / In The Lap, 2022

Arousal, 2022

Jan Heres' work, and especially his perception of colour, was greatly influenced by his experiences abroad, which include an internship at the Indonesian Institute of Art in Yogyakarta and a year's stay in Valencia. The study internship in Indonesia was formative for Heres. From this experience, one can perceive an undercurrent of color developed and used that is atypical for a Central European artist and viewer. The central theme of his paintings is interaction, both between humans and their surroundings and between humans and each other. In his paintings, he visualizes themes from his own life experiences, inspired by human stories and their resulting sensuality, particularly within emotional relationships. He observes the inner state of man and his confrontation with his surroundings, often resulting in paradoxical situations on his canvases, which have their counterpart in hallucinogenic colours. Jan Heres is a painter of wild presence, in his canvases we find the unbridled and colourful urban jungle, which is connected to individuals and their emotional worlds.

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Plamen, 2023

Dýmnice, 2023

Tříoký kocour, 2022

Hísek’s artistry began at the Academy of Arts, Architecture, and Design in Prague, where he specialized in typography and book illustration. Since completing his formal studies, Hísek has taken a multifaceted approach to artistic expression, exploring various rivulets that evoke inspiration. Today, the Czech artist is not only accredited for his poignant paintings, but is further applauded for his strides in printmaking and illustration. Hísek’s dexterity in fusing the individual components of painting, printmaking, and illustration is clearly exemplified by the meticulous nature of each painting that imparts a unique narrative for the viewer. Melting a palette of similar hues and shadows, each painting elicits an intense wave of emotions as spectators gaze into the ominous figures of a seemingly other-worldly realm. Though his creations may appear to depict figures of a different world, the emotions and inspirations of Hísek’s oeuvre are rooted within our natural experiences, allowing viewers to extract intimate emotions from each of his paintings.

The Amazement of the Wind

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Dokoupil‘s work is aligned with the Dadaism movement, so the artist refuses to accept a uniform, enforced style for his work. As a result, his work is full of various experimental techniques: he creates paintings using colored soap bubbles, candle soot, or single patches of film. The common characteristics of his work are expressionism and an erotic charge. His oeuvre contains over sixty series and more than one hundred unique techniques and styles, including his famous soap bubble, candle and tire paintings. As a founding member of Mülheimer Freiheit and the Junge Wilde art movement - and friend to notable figures including Andy Warhol and Jean-Michel Basquiat - Dokoupil is yet another Czech artist who has made an impression on the global art world.

Leona's Choice

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Jiří Petrbok's paintings blend the real world with the imaginary. They simultaneously combine the psychological and physical experience of the whole society with the individual. The neutral architectural space in which the action of the painting takes place is easy to read, but the dominant characters are completely fictional and absurd. We observe surreal encounters between characters and objects as well as the artist's favourite vegetables. The vegetables in his works come from the fact that he has been a vegetarian for many years and is fascinated by all the different forms of vegetables.

The resulting form of Jiří Petrbok's figures is modelled by imagery; the body is transformed, it is pulled up, it is etched, it drains, it disappears, it is subjected to suffering, deformation and various forms of discomfort. And although the human being, especially its body, is the focus of most of Petrbok's works, we often get the feeling of being deliberately excluded from the picture. The somewhat claustrophobic dimension of his works is downplayed by situational humour based on the physical clumsiness or awkwardness of the actors.

Airmaxxx 62

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Scream

For Jiří Černický, art is not purely a conduit of expression, but further functions as an indispensable instrument of provocation and revolution. In 1986, Černický had no intention of pursuing a career as a renowned visual artist. Instead, he enrolled in a local teaching-training college program in Ústí nad Labem, Czechia where he nurtured his studies in the arts and Russian language. The rising proclamations and aspirations of the commencing 1989 Velvet Revolution captivated Černický’s attention. Galvanized by the avante-garde of the Russian revolution, Černický continued to explore art as an instrument of change. His canvases were any resource closest to him. Old tarpaulin and train carts carrying coal were slathered with one provocative demand: ‘Free Elections’. Following the end of the revolution and a period heading a mine brigade, Černický’s affinity for artistic expression was resurrected by his acceptance into the Academy of Arts, Architecture and Design in 1990, consecutively followed by his enrollment at the Academy of Fine Arts in Prague in 1993. His dedication to art as a socio-political conduit continues to reverberate in his contemporary, inter-media oeuvre. Dancing between visual poetry, photography, video art, sculpture, painting, and other modes of mixed-media, Černický crafts immersive exhibitions that challenge viewers to confront the rotting underbelly of our socio-political climate.

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Triangle Kings

Maher Island

Double Kafka Gulf

Double Kafka

The Father

Kafka, the Self

Unknown

Johan Tahon (b. Menen, Belgium, 1965) did not become a sculptor. He has always been a sculptor and always will be. For him, sculpture is like breathing. From a young age, he had already discovered that objects lent a lightness to the darkness of existence. Pain was his driving force, and yet each of the sculptures created by his hands afforded him a glimpse of the beauty of rebirth. Tahon was immediately hooked, went on to study sculpture at the Royal Academy of Fine Arts (KASK) in Ghent, and was a player in the international art arena before the age of thirty. Since then, he has been journeying constantly in order never to arrive. He lives and works in Belgium and Switzerland. 
Restless and filled with longing for the inexpressible, Johan Tahon explores the boundaries of the great unknown. Trusting in his material, technique and skill, he goes in search of the nothing that is at once everything in a manner that is as fearless as it is stubborn. Of a present that is also past and future. And of the silence that speaks volumes. Over the past few decades, Tahon has breathed life into an impressive sequence of mysterious bronze, plaster and ceramic sculptures: injured giants and unapproachable angels, tormented creatures and modest monks, sensual nudes and amorphous hybrids. All of these – whether they fit into the palm of a hand or reach up to a monumental height – float between the earth and the heavens. 

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Kür führt, 2023

glaubt taut, 2023

Ihr Sicht, 2023

sei bei Leib, 2023

Sinner, 2023

schlich sich, 2023

Stirn sticht, 2023

Beitier, 2023

Born in Berlin, the German artist has been working in his birthplace since the dawn of his career. He is a descendant of Hans-Joachim Burgert’s family. Jonas Burgert graduated from the Berlin Academy of Fine Arts in 1996 and continued to study for the postgraduate title under Professor Dieter Hacker therein. Afterwards, he travelled to Egypt for a study journey. Since 1998, he has displayed his art at multiple group exhibitions around the world. In 2003 he attended the painting biennale in Stockholm. Burgert marked a great success when Christoph Heinrich, then Director of Hamburger Kunsthalle, bought his painting for a large state collection. Burgert showcased his art at the exhibition Geschichtenerzähler organised by this institution in 2003. Shortly thereafter, he displayed his works in Saatchi Gallery in London (2006). A gamut of his solo exhibitions in several institutions was launched then: Kunsthalle Tübingen (2010), Kunsthalle Krems (2011), Kestnergesellschaft in Hannover (2013), and the University of Denver, USA. In 2019, Burgert exhibited in the gallery me Collectors Room Berlin together with Ernst Ludwig Kirchner and Gerhard Richter, and the same year again when his works were placed alongside Jake & Dinos Chapman, George Condo, and Francisco de Goya. Thomas Olbricht included Jonas Burgert’s works in his collection shortly after the artist was brought into public notice. His greatest exhibition was held in Long Museum West Bund in Shanghai. Paintings by Burgert are today in many public collections, including Burger Collection in Hong Kong, Denver Art Museum in the USA, Rubell Family Art Collection in the USA, and Taguchi Art Collection in Japan. Burgert has been ranked among the 1,000 best artists in Germany.


Jonas Burgert - Stirn sticht 

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Attempt without Result, 2022

Coast Behind, 2022

Exhalation, 2022

Lost in Thought, 2022

Obscuring the View, 2022 

Remembering Beckwards, 2022

Stoped Weather, 2022

Josef Bolf was born in 1971 in Prague. He has been active on the art scene since the late 1990s, when his approach to figurative drawing began to mature. His inspiration from reading comics and science fiction literature was evident early on. The typical protagonists of his paintings are children or adolescents. Sometimes half-animal, these figures are lonely and often suffering in a disrupted urban environment. He often draws on his experiences from a childhood spent on the Jižní město housing estate in Prague, which he projects into surreal-fantasy scenes or apocalyptic, destroyed landscapes with a gloomy atmosphere. His typical process involves scratching a motif in ink over a wax base. Bolf exhibited his first paintings where he used this technique at the Soft and Pink exhibition in 2006. For the first time, he also set his figures in a housing estate as the setting for unspecified disasters. Teenagers, wounded in every way, walked frantically among the burning houses, clutched the decapitated heads of people and animals in their arms, bled, hid fearfully under tables, or just watched patiently over the ubiquitous work of destruction.

Something Surreal: The Far Away Worlds of Yesterday and Tomorrow

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Defector, 2022

Contestant I, 2019 - 2022

Contestant II, 2021

Contestant III, 2022

Moon, 2019 - 2021

Guru IV, 2022

Justin Mortimer's paintings invite us to question the relationship between form and content, beauty and horror, figuration and abstraction. This is because Mortimer’s paintings mirror a world in disorder, reflecting the social and political upheaval that is a staple of contemporary, international news agendas. His oil paintings often push the boundaries of figuration, landscape, and abstraction, plunging into the darkness of existential themes. The artist’s attentiveness to disorder was catalyzed by a newspaper article that delineated the atrocities of the ongoing Bosnian War, which reminded Mortimer of human fragility and the lingering possibility of societal collapse. Overwhelmed by a shroud of fear, Mortimer became committed to utilizing his emotions as instruments in creating his paintings. The artist has clarified that his work does not reference particular events, but is instead meant to evoke sentiments that transcend cultural difference. From his tortured narratives, Mortimer extracts imagery depicting despair, hope, and a peculiar conception of 'beauty'. This beauty is in perpetual decay: bodies are disjointed, space is fragmented, and reality is perplexingly enigmatic. Not only is this symbolic of one's evolving perception of a contemporary world culled by a deluge of print and digital information, but it further suggests the ways in which the fabric of society is increasingly warped. Justin Mortimer has a number of important portrait commissions behind him - he painted well-known public figures including Queen Elizabeth II., David Bowie, and Harold Pinter.

Kammer

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A brief walk through Krištof Kintera’s studio would bring spectators to a room akin to an industrial-sized electronic recycling center. The floor is concealed by mounds of doddering cardboard boxes, unceremoniously stacked and layered to accommodate for more space. Electronic hardware and dilapidated appliances threaten to overflow from their crude accommodations onto the studio floor. It is from this space that visual artist Krištof Kintera extracts the mediums for his innovative sculptures and assembles the images of his artistic vision. Fiber-optic cables are revived as a web of cervical vertebrae nerves. The cable of a colonoscope evolves into a winding serpent. The technological waste of the Czech metropolis is resuscitated into a new creation within the confines of Kintera’s studio, a space that he lightheartedly refers to as his laboratory. One of Kintera’s intentions is to diminish the necessity to explain the inspiration and denotation of his creations; each installation should justify its own existence. The visual art conceived from the confines of Kintera’s laboratory reflect the details of the anthropocene, or the current geological epoch in which mankind has had a significant impression on our ecosystems and environment. His installations seamlessly exemplify the kinship between biotic complexes and abiotic systems, intertwining each network to form a singular, neurological unit. The banal, discarded objects of our everyday existences are revitalized in each of Kintera’s installations, bringing new meaning to our shared synthetic and natural realities. 

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Take off time, 2022

Boot with snake, 2022

Day mission, 2022

Hand with snake, 2022

Still life with balls, 2022

Self-portrait with balls, 2022

Ace in the hole, 2022

Vase I, 2021

Laura Limbourg finished her studies at the Academy of Fine Arts in Prague only last year. Her paintings often feature motifs based on her hobbies, such as tennis and airplanes. Another recurring motif is prostitutes, more akin to sex slaves. Laura Limbourg has been focusing on this topic since she saw first-hand the extent of the sex business in Southeast Asia during her travels there. Her work underlines the severity and widespread nature of prostitution, sex tourism and the abuse of women (not only) on the Asian continent. Her paintings also feature other motifs based on her travels to exotic countries – plants and animals from the jungle, religious and cult statues, elements of Japanese historical painting, and vases inspired by old porcelain. She draws a lot of inspiration from her travels in Asia, having visited Cambodia, the Philippines, Taiwan, and more. Recently, she has started creating concrete vases on which she airbrush sprays her motifs. She recently spent several months in New York, which is also reflected in her current work. 

Laura Limbourg knows how to work quickly, above all persistently, because her paintings must not be allowed to dry completely while she is working in order to achieve her trademark the blurred effect. She uses watercolors on canvas in her work. The artist can’t change anything if she makes a mistake. Most of the time, she dives right into her work without making preliminary sketches beforehand.

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Závrať, 2022

Zatím bez názvu I, 2023

Smutný kluk, 2022

Modré koncilium, 2022

Velké zrcadlení, 2022

Červený pláč, 2022

Mašinista, 2021

Čas se ohnul v pase

Manic energy radiates from the “abstract-technical” oil paintings of Czech artist Lubomír Typlt. The instantaneous convergence of pronounced, radiant pigments alongside exaggeratedly disconcerted faces of homogenous adolescents creates a canopy of urgency for the viewer. Typlt’s discovery of his artistic identity and dynamic methodology began with his acceptance into the University of Applied Arts in Prague where he submerged himself in drawing and illustrative techniques until 1997. The polarity of Typlt’s works continues through his thematic approach, where he explores the dichotomy between male and female figures in sequestered environments. A result of this isolation is the constraint on spectators to approach the piece without transplanting residual prejudices from the external world. Instead, viewers must confront the contrast of the painting, deciphering the vivacity and tension of the piece in isolation. Typlt is fascinated with doubling, doppelgängers, and cloning; however, he never duplicates figures mechanically, instead opting to hand paint each one, allowing the figures to retain their subtle individuality.

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Lubomír Typlt, Nezralé třešně, 2023

Adam Štech, Nude, 2024

Lubomír Typlt, Mnoho povyku pro nic, 2024 

Adam Štech, Hlava, 2024

Lubomír Typlt, Vidím, co ty nevidíš, 2023

Adam Štech, Mateřství I., 2024

Lubomír Typlt, Rozverná, 2023

Adam Štech, W. Dafoe as Jesus, 2024

Lubomír Typlt, Procitnutí, 2024

Adam Štech, Picasso, 2024

Adam Štech (1980) invites the viewer into an alternate reality where recognizable characters are stretched, reextended and reassembled into deformed images of their former selves. The Czech painter began his studies at the Academy of Fine Arts in Prague where he began to explore the techniques of Baroque,Expressionist and Cubist styles and combined them to create his own approach to modernist art. His distinctive approach is characterised by collaged and caricatured figures set in the humorous - and inevitably peculiar - circumstances of his alternative reality. In the last decade or more, Lubomír Typlt (1975) has become a quintessential figurationist who has abandoned the initial ambiguity of his painterly expression, originally dealing with machines and mechanical meta-constructions alongside his depiction of human figures. He was thus able to develop his own conception of the human being more consistently and emphatically, which he divided into gender-opposite positions, into paintings with women and paintings with men, among which no work has yet been produced in which both sexes appear together.

Sow Leashes & Reap Dogs

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