The Dirty Colours Of Her Kiss, 2022

Notions of Loss, 2022

Applebum, 2022

Fulcrum, 2023

Liebestod, 2022

Swing Low, 2022

Growth and Expansion, 2022 

I Think Of Thee Twine And Bud, 2022 

Pleasure Centre, 2022

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.

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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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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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Hemisphere with lens

Black Halpsheres

Václav Cígler and Michal Motyčka have taken parallel approaches that reflect and refract their individual, artistic aspirations. Václav began his studies at the Secondary and Apprentice Glass School in Nový Bor before continuing his training at the Academy of Arts, Architecture and Design in Prague in 1951. On the other hand, Michal began his studies at the Faculty of Architecture Czech Technical University before continuing his training at the Glass Studio in Architecture, which was taught by Marian Karel, at the Academy of Arts, Architecture and Design in 1995. While Cígler and Motyčkaboth began their artistic training at different times, their similar passions for contemporary art, design, and architecture facilitated the start of their collaborative projects in 1999. Cígler Václav‘s works are most recognizable by his use of glass optics to manipulate the surroundings of his pieces. He employs light, water and shape to fabricate a new reality. A glimpse through one of Václav‘s glass works exhibits his mastery of optical glass to curve its surrounding environment, distorting nature‘s original state. Václav's use of staggered glass creates additional idiosyncratic images of the same environment, as each panel refracts a different angle of its surroundings. Vaclav’s glassworks are intended to provide a commentary on man’s relation to their urban and natural environment, encouraging viewers to find serenity and harmony within our shared landscapes. The Czech artists' seemingly insurmountable use of glass optics has breached the international contemporary art industry and crafted a fresh mode of artistic expression.

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Untitled

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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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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The Kingdom of Twilight, 2023

Per Aspera ad Astra, 2021

Keeper of the Gates, 2021

The Origins of Wonder, 2021

I see red, 2022

Medusa, the Decay of Sentiment, 2021

Medusa - I‘ll be your mirror, 2021

The Siren, 2021

The Curse, 2022

Where Everything makes Sense, 2023

Supernatural, 2023

The safe Heaven of the Unknown, 2023

Disappearance, 2023

Lonesome Place of Wonder, 2023

Rise and Shine, 2023

The Hell of Gates, 2023

Where all Rivers unite, 2023

Every Shadow has a Light, 2023

The Raft of Time, 2023

The Fountain of ..., 2023

The Calling from another Side, 2023

Permanent Blue, 2023

The Magic of Silence, 2023

Drowning in Youth, 2023

Ocean of Possibilities, 2023

The last Time I saw You, 2023

Transition, 2023

Martin Eder, one of the most widely recognized contemporary German painters, is also a sculptor, photographer, musician, performance artist and even a hypnotist. By integrating surrealist and post-modern, erotic motifs, Eder challenges established perceptions of beauty, thus undermining the globalized status quo of Anglo-Saxon pop culture. Eder gravitates towards the liminal: the intersection of piety and profanity, vulgarity and chastity, reality and fantasy. For Eder, postmodern psychedelic aesthetics are just as inspirational as religious hagiographies; surrealist motifs are just as evoking as pagan iconography; Albert Durer is as equally stirring as Hieronymus Bosch. A student of hypnosis and the occult, Eder mines the unconscious for the erotic and the kitsch, integrating realistic depictions of beauty and unreal brutality within a single painting. Eder continues to explore other modes of expression beyond painting as depicted by his hypnotic performance 'Mentale Physik und die Strahlen Luzifers' (2017) and the drone-doom, black metal band 'RUIN'. Eder's art has been sought by artists, private collectors, and institutions, most notably world-renowned artist Damien Hirst and the Museum of Modern Art in New York City.

The Unreal

The Fountain of Youth

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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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Milan Houser is an experimental painter and alumnus of the Academy of Fine Arts in Prague, Studio of Monumental Art, where he completed his studies under the teachings of Czech sculptor, Aleš Veselý. The preponderance of these works revolves around his experimental use of varnish, pigments and gravity as a medium. Varnish - a solid, glossy surface created by an amalgamation of resin, solvents, and oils - has become such a crucial medium of Houser’s unmistakable artwork that the Czech artist has formulated his own varnish using a unique compound with properties resembling sculptural material and paint. Utilizing a layered technique, Houser pours varnish onto canvas, ensuring the preceding layer reaches a certain solidity before applying the next layer on the surface. He invites the molten varnish to expand across the canvas, languidly trickling down the peripheral of the circular canvas. The interplay between the internal chemical reactions and the external draw of gravity introduce a welcomed variable of unpredictability and spontaneity within the conception of a single composition. By scrutinizing a sliver of his paintings, viewers can dissect the intricacies of Houser’s methodology, becoming mesmerized by the undulations, cavities, and vesicles burgeoning from its core.

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The Dying Slave II., 2023

Hannibal, 2023

The Boy II., 2023

Mercury, 2022

Theresa, 2022

Resting Hercules, 2022

Matouš Háša was born in 1992. He is a graduate of Academy of Fine Arts in Prague, and has also attended schools in Florence (Libera Accademia di Belle Arti Firenze) and London (Middlesex University London). In response to current cultural and social events, he uses the media of figurative sculptures, which he places in iconographic contexts reminiscent of symbolic or archetypal depictions. His work, stripped of context and interpretation, is a formal continuation of the tradition of Western sculpture inspired by a combination of classical sculpture and contemporary figurative artists. In his work, he consciously draws on the "roots" of Western culture, which he transfers into the form of a psychoanalytic portrait of a postmodern man. It deals with the question of identity, which the present has deprived of secrecy and privacy.

This young sculptor bases his expression on the contrast between the traditional and the contemporary. He observes a certain dualism caused by his instinctive inclination towards the classical form, in which his preference towards realism contrasts against a rational need to express himself consciously. He works according to the classical tradition. His themes, with which he usually reacts to local and global social and political phenomena, are based on the "changed behavior" of old, well-known and proven figures of the antique, renaissance, mannerist traditions. He grants them new gestures and puts new attributes in their hands. This decontextualization is behind the convincing contradiction with which he grasps the unclear present in its experiential and media movement. 

Anticon

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Tříruká noc / Three-handed night, 2018

Hoře / Grief, 2021

Jízda / Ride, 2021

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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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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Milan Knižák is a Czech artist, musician and performer, member of the international Fluxus movement. He was the rector of the Academy of Fine Arts in Prague and from 1999 to 2011 he was the director of the National Gallery in Prague. For over 20 years, he headed the Studio of Intermedia at the Academy of Fine Arts and Design. He has raised a number of important artists (e.g. Krištof Kintera, Milena Dopitová, Milan Mikuláštík, Jakub Špaňhel and others). He is exceptionally versatile - his activities include events, visual arts, architecture, design, fashion, poetry, photography and music.

He first exhibited in 1958 in Mariánské Lázně. In the early 1960s, he began to make his first activities - happenings, such as Ceremony in 1968 and Stone Ceremony in 1971, and continued to create objects. In 1965, Jindřich Chalupecký brought Knížák's activities to the attention of members of the Fluxus movement and mediated contact with its founding member George Maciunas, who appointed Milan Knížák to the position of Director Fluxus East. George Maciunas invited Knížák to the United States. There he realized his Lying Ceremony or The Difficult Ceremony. He returned to Czechoslovakia in 1970. He earned his living doing various jobs, selling his own paintings and restoring puppets. He lectured at the Hochschule für Bildende Kunst in Hamburg and UCLA in Los Angeles. As a professor he has worked at the International Sommerakademie in Salzburg, the Sommeracademie in Berlin, the Summerakademie Gomera in the Canary Islands and the Ecal école cantonale d'art de Lausanne in Switzerland.


Keep Together

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Orange Still Life, 2023

Face (Abstract Bodies), 2023

Blooming, 2023

Torso (Abstract Bodies), 2023

Tall Vase, 2023

Flash I, 2021–⁠2023

Lady and Matador, 2023

Bursts of color erupting across canvases embody the bold and energetic creations of Czech painter Martin Krajc. From 2003 to 2009, Krajc studied at the Academy of Fine Arts before embarking on his residency at the La Facultad de Bellas Artes Universidad Complutense de Madrid, Spain, from 2007 to 2008. Krajc was not only immersed in the techniques of the Spanish Old Masters, but was additionally exposed to the experiences and figures that encompass Spanish culture. A result of this exposure was a notable transition from firm depictions of traditional, figurative art to the unbound, elastic imagery of abstract painting. El Sanfermin, more commonly referred to as the running of the bulls, had a noteworthy impression on Krajc. From this world-renowned tradition, Krajc has conceived an electric world of los matadores and defiant bulls dancing in an eruption of blazing pigments and passionate swaths of color. As the artist has continued to titrate inspiration from his surroundings into his works - including photography, magazines, and street art - his oeuvre continued to blossom. His abstract paintings have expanded to feature contemporary interiors, exotic fauna, and striking figures in pools of voltaic hues. Krajc’s passion for street art and graphic design is further exemplified by his contribution to several collaborative art groups including the painting collective Obr and the graphic design group known as Firma. Whether Krajc showcases his oeuvre in a solo exhibition or a collaborative project, his committed illustration of the vivacity and beauty of life is applauded throughout the Czech Republic and the expanse of the international community. 

Nymphae Perspicuae

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Asa Nisi Masa V, Alles jetzt erreichen / Reaching all now

Der letzte Tango in Thule, Rue Jules Verne IV / The Last Tango in Thule, Rue Jules Verne IV, 2020 

Der letzte Tango in Thule, Rue Jules Verne VI / The Last Tango in Thule, Rue Jules Verne VI, 2020 

Zirrostrat Lichtschranke/ Zirrostrat Photoelectric Barrier, 2019 

Michael Kunze was born in 1961 in Munich, and currently lives and works in Berlin. He studied Philosophy at the Ludwig-Maximilian-University and painting at the Academy of Arts in Munich, and has been exhibited internationally since 1989. Kunze is represented by COMA in Berlin, Nicolas Krupp in Basel, and Thomas Rehbein in Cologne. His works have also been auctioned by the British auction house Sotheby's. Recognized as one of the most iconic German painters, in 2013 Michael Kunze was honored with a major retrospective at the Kunsthalle Dusseldorf, where works spanning over the past two decades were exhibited alongside a major publication. Earlier this year the artist was a recipient of the prestigious Hans-Platschek Prize in Karlsruhe, Germany. His works can be found in numerous public and private collections like the Nationalgalerie in Berlin, MMK museum in Frankfurt and the Goetz collection in Munich. Kunze is more recognisably a painter in terms of his technique, which involves traditional oil paints often applied thickly and quite dryly to engender an aged, impastoed appearance. His work reveals influences of Biblical tales, stories and symbols from the classical mythology of  Ancient Greece, complex visions from the world of cinema, and narratives from science fiction.

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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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Cifra, 2022

Čas minulosti, 2022

Čas na čas, 2022

Čas nadobro, 2022

Čas podle Ernsta, 2022

Čas večera, 2022

Čas života, 2022

Kyvadlo

Pavla Malinová was born in 1985 in Vsetín and now lives and works in Prague. She graduated from the Faculty of Arts of the University of Ostrava, where she studied in the painting studio of František Kowolowski. After her studies, she decided to devote herself mostly to painting, her work featuring robust figures playing ambiguous games. Although she is in one of the youngest generations of Czech artists, we have been able to see her work in a number of domestic and international institutions. At the same time, her works are part of many private collections. Since last year, her works have also started to appear at international art fairs. She gained greater notoriety in 2019 as a finalist for the Jindřich Chalupecký Prize, when she was awarded for paintings presenting "a complex aesthetic that traverses a wide range of historical references with ease, without narcissistically wallowing in a self-referential relationship to the classical medium." Working with contemporary and archetypal symbolism, she is also characterized by a refined color palette and an ever-present touch of light that underscores her paintings' specific notion of inner spirituality. The themes of spirituality and physical and psychological peace still represent one of the key motifs of her work.

Cuckoos

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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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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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Do the deceased want to live on other planets, 2015

Memory is Over, 2014

Landscape on top of Landscape, 2015

The Cowboys are breaking the Ice, 2015

The Huge Spiral of DNA erected in the West Siberia in the Year 3021, 2014

The Huge Monument “Return to the Sun” will be erected in the desert Gobi in the Year 2088, 2015

Pavel Pepperstein was born from an artistically inclined family. His mother, Irina Pivovarov, was a poet and author of children's literature. His father, Russian painter Viktor Pivovarov, contributed to the founding of the Moscow Conceptualist Movement in the 1970s. In 1985, Pepperstein pursued his own artistic inclinations at the Academy of Fine Arts in Prague before launching Inspection Medical Hermeneutics, an experimental artist’s coalition that utilized installations and the performing arts as instruments in commenting on the anxieties surrounding the opening Soviet Union. Inspection Medical Hermeneutics‘ commentary on political conditions foreshadowed Pepperstein‘s propensity to remark on political and cultural discourse within his paintings. Though Pepperstein‘s “psychedelic realist” scenery features bright water colors and outwardly cartoonish characters, his pieces emote an ominous tone. Within the confines of a single painting, Pepperstein marries child-like illustrations, political motifs, and menacing tones to uncover the distrust that strangles our “political reality”. The artist’s cynicism extends beyond political reality to encompass the gallery industry which he considers to be another corporate system. Regardless of his unwavering critiques, Pavel Pepperstein is acknowledged as a valued creator of the international art scene, with institutions and collectors alike seeking to claim ownership to his analytical works.

Pepperstein‘s artwork combines recognizable cultural images with witty commentary. His works feature allusions to surrealism, Malevich's Suprematist model, Eastern watercolour, pop art, book illustration and political cartoons. During his artistic career Pepperstein has had more than 100 solo exhibitions in Russia and abroad. His major exhibition projects include a presentation at the 53rd Venice Biennale in the Russian Pavilion with the installation Landscapes of the Future. In 2014, he was personally invited by the renowned curator Kasper König to present his work at Manifesta 10. In the same year, he was awarded the Kandinsky Prize. Pepperstein's works have been exhibited in museums and galleries around the world, including the Louvre in Paris. His paintings, drawings and installations can also be seen in the State Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, the Centre Pompidou in Paris, the Deutsche Bank collection, Kunsthalle Düsseldorf, the Garage Museum of Contemporary Art in Moscow, as well as in the collection of Roman Abramovich, one of the world's richest men, and other private collections around the world. The fashion house Louis Vuitton collaborated with him for their Travel Book Series project to illustrate the Prague guidebooks with his unique drawings.

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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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Zimní kabát, 2022

Zimní ráno, 2022

Stařík a jeho budoucnost, 2022

Stěna, 2022

Pohled sochy, 2022

Nakládané okurky, 2022

Viktor Pivovarov, born 1937 in Moscow, is a Russian artist living in Prague. He moved from Moscow in 1982 and continues to live there to date. V. Pivovarov along with Ilya Kabakov, Erik Bulatov, and Irina Nakhova, was one of the leading artists of the Moscow Conceptualist artistic movement of the 1970s. His work reflected the complete ideologization of the Soviet lifestyle, often simultaneously expressing criticism and nostalgia for this lifestyle. His works consciously with the overlapping of various pictorial levels and the introduction of unexpected perspectives. Storytelling and allegory have remained central to his paintings, drawings, collages and albums to this day and lead the viewer into a surrealist cosmos. Within this universe, conventional ways of seeing, mass media visual culture and the icons of Western and post-Soviet educational canons are called into question by means of irony and distortion. The Russian tradition of icon painting, allusions to the art of Kazimir Malevich and Western figures such as Giorgio de Chirico and René Magritte play a central role in Pivovarov’s art, as well as Russian myths, songs and legends.

His works belong to several institutional collections, including the Tate, London; Kupferstichkabinett, Berlin; Centre Pompidou, Musée National d’Art Moderne, Paris; Pushkin State Museum of Fine Arts, Moscow and the State Russian Museum, St Petersburg, National Gallery, Prague.

White Mirrors 

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Untitled, 2022

Untitled, 2017

Untitled, 2020

n.n., 2022

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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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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Bosco Sodi (b. 1970, Mexico City) is known for his richly textured, vividly colored large-scale paintings. Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on material exploration, the creative gesture, and the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. Sodi leaves many of his paintings untitled, with the intention of removing any predisposition or connection beyond the work’s immediate existence. The work itself becomes a memory and a relic symbolic of the artist’s conversation with the raw material that brought the painting into creation. Sodi’s influences range from l’art informel, looking to artists such as Antoni Tàpies and Jean Dubuffet, to master colorists such as Willem de Kooning, Mark Rothko, and the bright hues of his native heritage.
He has exhibited all over the world. His work has been shown at Art Basel and the Triennale Milano. His solo exhibition at Palazzo Vendramin Grimani was part of the program of the Venice Biennale in 2022. Sodi’s works are in significant public and private collections including 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan; Des Moines Art Center, Des Moines, USA; Deutsche Bank, New York, USA; Harvard Art Museums, Massachusetts, USA; Museum der bildenden Künste, Leipzig, Germany; Museum of Contemporary Art, Antwerp, Belgium; Museum Voorlinden, Wassenaar, Netherlands; Nasher Sculpture Center, Texas, USA; New Orleans Museum of Art, Louisiana, USA; The Museum of Modern Art, Gunma, Japan; The National Gallery of Victoria, Melbourne, Australia; The Phillips Collection, Washington, D.C., USA.

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Giant steps, 2022

Norbert Stefan studied fine art in Cluj-Napoca, a city in the northwestern region of Romania. This strong connection to his Romanian heritage facilitated Stefan‘s correspondence with other Romanian artists, leading to Stefan assisting Adrian Ghenie in his Berlin-based studio. This granted him the opportunity to continue his studies much like a Renaissance apprentice. Recognition from the British curator Jane Neal facilitated Stefan's departure from Ghenie‘s studio in pursuit of his own artistic endeavors. Inspired by the ferocity and youthful decadence of contemporary Berlin, Stefan embraces pure abstraction, free association of layered colors, and decalcomania. Decalcomania, a printing technique that transfers engravings and prints to pottery and canvas, is a distinctive feature of Stefan's seemingly psychedelic works. In his atmospheric paintings Norbert Stefan uses blurry details and abstract fragments. The layers of paint evoke the strata of stone, soil, and sand unearthed by archeologists to unravel the shape of history. He draws from psychoanalysis and constructs a whole cosmos through his color prints.

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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.