DSC Diary (Magazine for contemporary art)

Spring 2023

Jonas Burgert: Stirn Sticht, oil on canvas, 90 x 80cm, 2023

Olga Trčková Partner, DSC Gallery

Dear ArtLovers,

You are now reading the first lines of our new online art magazine, created 
 in collaboration with students from the Prague University of Economics and Business minor in Multimedia Communication. It is called DSC Diary, and its aim 
 is to introduce you to the world of galleries. In this issue, we will present upcoming exhibitions and projects both here in our gallery and around the world. We will also bring you interesting interviews with promising artists Barbora Valášková 
 and Jan Heres, as well as our gallery owner and dear colleague Edmund Čučka, who will share his beginnings in the world of contemporary art.

I firmly believe that you will enjoy reading the first edition of our online magazine and that the gallery life will inspire and enrich you.

Warm greetings and happy reading.

and stay up to date: Follow us on

Photo: Karolína Jírová

Jonas Burgert: Stummfang, oil on canvas, 90 x 80cm, 2021

Photo: DSC Gallery archives

6.5.-7.7.2023

DSC Gallery

PHOTOGRAPH VÁCLAV JIRÁSEK INTERVIEW

We spent time with Václav Jirásek 
 in Jonas Burgert's studio, where we had the opportunity to get to know him personally. Václav Jirásek took a series 
 of photographs in his Berlin studio, primarily for the Stirn Sticht exhibition catalog, which we prepared 
 in collaboration with Studio Najbrt.

What was your impression of him? You've met many notable people.

The most important observation is 
 that despite being a superstar, he is 
 an incredibly likeable person. In every sense of the word. He is a completely down-to-earth individual with a very pure aura. A model of a genuine guy who still finds great joy in what he does. 
 And I believe that this enthusiasm 
 is reflected in his work.

Jonas often talks about needing a long time to reach a point of sensitivity, 
 to be able to concentrate his thoughts, which he has accumulated from cutouts of various newspapers and books.

Did you notice that 
 in his compositions? It may be similar 
 in photography.

He creates a kind of laboratory 
 for himself, where he gathers many cutouts, which he changes often, 
 and it is important to him. There were images related to movement, the shape 
 of the body, and the way a person crosses the surface, recognizing different themes that intertwine and transition 
 into one another.

From sexuality to the ecologically apocalyptic state of the Earth.

His work looks as if he enters a trance-state of consciousness in which he operates. 
 I have the impression that his creating process involves simultaneously working 
 on several paintings side by side, allowing for enormous space for creativity.

these paintings, they mature in his mind both conceptually and visually.

Furthermore, it's intriguing that he employs a relatively conservative painterly language, drawing inspiration from medieval Renaissance and Baroque periods.

principle of Renaissance painting, called "podmalba," which is then sealed. While this principle may seem simple, working with it is highly demanding, 
 and mastering it is the pinnacle of craftsmanship.

thinking and experiences we have 
 in the digital world, characteristic of today's generation—an immense layering of information overlapping, permeating, and somehow shaping 
 our consciousness.

Studio of Jonas Burgert Photo: Václav Jirásek

Studio of Jonas Burgert

Photo: Václav Jirásek

difference between the Baroque and paintings resemble a cluttered dump or a heap of waste that one navigates

The space we visited was originally

In a way, I genuinely, quietly envy him for work. Unfortunately, we have few such spaces in Prague, and Berlin is much more democratic in this regard. the environment didn't feel snobbish

German houses of ordinary people right next door, which somehow tell

What is your impression of him having his first exhibition 
 in the Czech Republic and a wider audience learning more about him? You've mostly observed him 
 in a German environment, right?
 I must confess that I have never seen his exhibition. I noticed his works 
 in bookstores in Berlin, but I wasn't quite sure how to approach them. 
 I was very uncertain and on the edge, but then I understood his working system, realizing that he is 
 a complete artist, and everything 
 is alright.

I originally come from a painting background, so I have a great affinity for the language of painting, 
 and initially, I had my doubts. However, now I think he is a great artist, and his work deserves 
 the attention of a wider audience.

Can you find a counterpart to him from the Czech scene?

Certainly, Alfons Mucha. Firstly, there is a certain level of mannerism 
 in both of them, which I don't mean in a negative way but rather formally. Then there is the parallel work 
 with human figures and the exploration of various types of identity. In his work, there are almost Art Nouveau-like hands or bodies that are connected to drapery.

That is post-Art Nouveau, and there are also connections to the Slav Epic, among other things, in terms of dimensions, monumentality, collage, and layering. I believe there 
 is a significant parallel there.

Jonas Burger's Studio

Photo: Václav Jirásek

Edmund Čučka with Olga Trčková 
 and Anselm Reyl

Photo: DSC Gallery archives

EDMUND ČUČKA

ART GALLERY OWNER AND ART COLLECTOR interview

“As for now, nothing has changed and my passion 
 for collecting has only grown deeper, especially when it comes to international art, with a focus 
 on European works - specifically, German painting.”

We're joined today by Edmund Čučka, 
 an art collector and gallerist with 
 a unique background in law.

Edmund describes collecting art 
 as a lifelong addiction, having moved 
 on from stamp collecting in his
 younger years, to trilobites, watches, 
 and eventually came to art.

Starting out as a volunteer, were 
 the beginnings difficult for you?

Absolutely, beginnings are always challenging. You dedicate yourself 
 to a certain field, complete your education, and follow a path that you and your family believe is best.

In my case, my grandfather was 
 a lawyer, so there were certainly some expectations that I would follow in his footsteps. Making the final decision 
 to leave the legal profession and enter 
 the world of art was a daunting step 
 for me, especially since private galleries were still a new concept 
 at the time, with only a handful 
 in existence.  I had to create something that didn'texist yet, without 
 any established guidelines 
 or precedents to follow. It was a path of uncertainty, and I had to learn 
 by doing and taking risks, always trying to create something new 
 and innovative.

It was far from easy, but I gained confidence and honed my skills 
 in the field. Being a gallerist is 
 a lifelong learning process, and 
 I believe that there is always room 
 for growth and improvement.

Does your legal background prove useful in your work as a gallerist? As a gallerist, I wear many hats. However, having a legal education has proven beneficial in developing skills in critical reading, psychological analysis, and economic analysis. 
 While I don't often need to use specific legal skills, such as contract writing or handling legal disputes, 
 the broader knowledge and critical thinking abilities gained from studying law have certainly been helpful.

What drives your passion 
 for collecting art?

I feel a sense of personal fulfilment 
 and satisfaction from collecting these items - they make me genuinely happy. Ultimately, my motivation stems from within myself - it reflects who I am.

Why do you consider collecting art 
 an addiction?

I don't know if 'addiction' is the right word, but I suppose you could say that. It's an obsessive urge to keep surrounding myself with art, 
 broaden my knowledge, and own certain pieces. Even if I don't have 
 a place to put the piece, or can't afford it at the moment, the desire only gets stronger and stronger,

and I find myself constantly seeking ways and opportunities to acquire it.

Does your collection contain 
 any peculiarities?

Well, I have a vast library and I love surrounding myself with books. 
 Some are signed, while others are 
 from limited editions. But I wouldn't say that I have anything particularly bizarre in my collection. That refers 
 to a particular type of collector who specializes in items such as natural objects or primitive cultural artifacts, African art, and Asian artifacts. While 
 I find those topics interesting, 
 they're quite specific and often tied 
 to the world of exploration. It's not something I've delved into just yet.

What's your favorite item in your collection?

I'd say it's always the newest addition 
 or something I don't yet have. 
 As with most collectors, once you acquire something, your interest 
 in it doesn't just disappear, it's always there. Maybe the piece has a specific place in the collection, or it fits 
 into a particular theme or concept. But the desire to own it has been fulfilled, and then you start searching 
 for the next thing. The hunt 
 and discovery are all part 
 of the process.

What led you to become
 a gallerist?

It was actually a matter of chance. After deciding against pursuing

Favorite artist of Edmund Čučka:
 Anselm Reyle: Walking through my Dreams, 71 x 35 cm, 2022

Photo: Jan Zima

a career in law, I found myself 
 at a crossroads. Unsure of which path 
 to take, I considered becoming 
 an in-house lawyer or even returning 
 to law school. But my love of the art world persisted. That's when I had 
 the pleasure of meeting Olga Trčková, the founder of DSC Gallery. As we discussed art, she encouraged me to try something new
 at the gallery. Intrigued, I accepted the challenge and ended up staying for 14 years, discovering a new passion for promoting artists 
 and connecting them with collectors.

How would you describe
 the difference between a curator 
 and a gallerist?

In my opinion, a gallerist is 
 a multifaceted role that involves being an art dealer, banker, psychologist, and more, while 
 also having curatorial responsibilities. On the other hand, a curator is primarily responsible for selecting and organizing specific exhibitions and producing accompanying 
 written material. It's a more specialized field than that 
 of a gallerist. While I'm not a curator myself, I work with a team of curators 
 to select and shape the gallery's overall vision and direction.

What does your day look like 
 as a gallerist?

Today, for example, I had a meeting regarding our upcoming Jonas Burgert exhibition where we're

Anselm Reyle: Untitled (3), 50 x 40 cm, 2020

Favorite artist of Edmund Čučka:

finalizing the visual design and putting together a monograph and exhibition catalogue.

Right now, I have a meeting with you, followed by another one with a different magazine to discuss an upcoming show. The afternoon will be filled with typical tasks, but tomorrow, for instance, 
 I'll be heading to Berlin with a colleague 
 and some collectors to preview 
 some pieces before the exhibition. Every day is different, and as Olga Trčková uses to say, the worst possible day spent is in a gallery dealing 
 with endless administrative tasks. 
 As a commercial gallery, we work
 with artists on one side and collectors on the other, with media, daily operations, travel, meetings, 
 and publishing activities in between, 
 so the work is quite varied.

How much of your work involves travel?

Over the past three years, we have been travelling more and more. We are trying to establish connections 
 on an international level, and now we have built a network of collectors 
 and international curators. Recently, 
 we have been traveling most often 
 to Berlin, but we also go to London 
 and Budapest four or five times a year. In two weeks, I am planning a trip 
 to New York to visit a Mexican artist. 
 The reasons for travelling can vary, such as visiting an exhibition, negotiating 
 a deal, starting to build an outline of collaboration with an artist,

or already having a friendly business relationship. When something is being negotiated or planned, it is good 
 to be there personally with the artist and spend some time with them rather than trying to develop an idea via email or video call.

How do you select artists 
 for the gallery?

We travel the world, visiting museums and galleries, and in the Czech Republic, we also scout young artists 
 in art schools based on recommendations from teachers, while also keeping a continuous eye on more established names. When it comes to international artists, we work with other galleries, the artists themselves, or their representatives 
 to find and establish relationships. 
 We also collaborate with three international curators to help 
 with our selection process.

How challenging is it to establish
 a new relationship with 
 an internationally renowned artist?

It can take anywhere from two to five years to find a way to connect 
 with such an artist and develop 
 a concept for collaboration. 
 The execution of the project can take five years or even twenty years.
 It depends on where the gallery 
 is located, where the artist is located, and how the two worlds can intersect.
 Sometimes the connection happens

Edmund Čučka

Photo: DSC Gallery archives

immediately, but other times it takes 
 a while, and that's the nature 
 of the process. We spend a lot 
 of time on this journey without knowing for sure if it will be successful.

And that's just the journey to reach 
 the artist. Another consideration 
 is how the gallerist works with 
 the artist within the art market.

What does maintaining relationships with artists require?

It requires a unique balance 
 of personal and professional connections. It's a delicate dance 
 of giving and receiving attention, building trust, and finding chemistry. 
 It can be time-consuming, and artists tend to have a different way 
 of thinking and existing than, let’s say, doctors or lawyers. Emotions run high in the art world, and navigating these can be more complicated than in other fields. As gallerists, we must learn to deal with both positive 
 and negative moods and find ways 
 to work through challenges. 
 The process can be more involved and time-consuming than 
 in other industries and requires patience and understanding 
 from both parties involved.

Do you have an interesting story from a vernissage?

Not really, I'm not much 
 of a storyteller. Many people think that as gallery owners, our work

revolves around the vernissage, 
 but that’s just the beginning 
 of our work with an artist's piece. 
 It's not just about the exhibition itself. There are also various media and PR considerations, such as promoting the exhibition or publishing a book during the exhibition. Our aim is 
 to showcase the artist's work 
 to collectors, organize exhibitions with like-minded galleries 
 in the Czech Republic and abroad, 
 and seek collaborations 
 with institutions.

What do you see as the biggest challenges in your work?

I feel like every day brings a new challenge, and there's no ultimate finish line. The goals are always incremental, but as you move forward, you're also pushing 
 the boundaries and redefining 
 the goals themselves. 
 At the moment, I'm particularly proud of the exhibition we're currently preparing for Jonas Burgert.

What are your plans for the future?

We have many goals and visions, 
 but our main aim is to promote Czech artists and their work more extensively on the international art scene, and we are actively seeking opportunities to achieve this.

When did you first become passionate about art?

It all started in high school. At 16, 
 I attended an art school, and that's when my passion for art really took off. Before then, I was unsure whether I wanted to pursue a career in design, directing, or something else entirely. 
 I was exploring my options, and 
 it was only when I began painting that I realized how much I enjoyed it. 
 By the time I was 17, I had started painting seriously.

You were in Indonesia and Valencia during your studies. Did it influence your artwork in any way?

Yes, I spent a semester in Indonesia while studying at university. I visited the Java Island. I've always had 
 a passion for colors, and my time 
 in Indonesia allowed me to explore and experiment with them 
 even more.

YOUNG ARTISTS INTERVIEW

Jan Heres

is a talented emerging artist from St. Gallen, Switzerland, now based in Prague. Wildness and uninhibitedness are among the essential parts of his paintings, through which he develops unpredictable relationships between individual elements in his artworks. Heres creates fresh, playful, and often bizarre or even absurd worlds in his paintings, where the form seemingly lightens the seriousness that undeniably exists within the artworks.

But when I returned from Indonesia and brought my paintings 
 to the university studio, my color combinations looked completely different from my classmates. Another change that occurred after 
 my trip to Indonesia is that I no longer exclusively rely on painting models, such as my family, friends, 
 and landscapes. While in Indonesia, 
 I began painting more from my imagination. I created sketches 
 of masks and discovered that it 
 was more liberating for me to paint using my imagination.

I also saw some stylized drawings 
 of a special Indonesian puppet which resonated with me, especially 
 the expressions in the drawings. 
 This had an impact on my own style. Additionally, my previous style consisted of mostly two-dimensional work, but now I am incorporating 
 more three-dimensional work while 
 still occasionally combining twodimensional elements.

Little Spoon, Acrylic on Canvas, 180 x 150 cm, 2022

Touches, Acrylic on Canvas, 170 x 150 cm, 2022

Do you prefer to paint in silence 
 or with music in the background?

And if you do listen to music, does it ever inspire your artwork?

Yes, I often listen to music while painting. I love contemporary music like electronic and hip-hop, 
 as well as older music.

Sometimes I enjoy listening to pop, like Billie Eilish. I find that music 
 and painting are closely related, 
 as painting can be like a visual melody. When I listen to electronic music, for example, it inspires me 
 to paint something techno 
 or futuristic, and I can transfer 
 the music into my artwork.

How much do emotions play a role in your creative process?

Emotions are an integral part of my creative process, and I cannot imagine painting without them. 
 The process of painting and how colors communicate with me are 
 both crucial elements.

Your artwork often depicts sexuality, sometimes even 
 in explicit ways. What drives you to explore this particular subject matter?

After my visit to Spain, I spent 
 a month in Miami, USA where I saw 
 a lot of transgender and gender 
 non-conforming people everywhere. 
 This inspired me to start painting them, which led me to create a series that explores the combination 
 of genders, the female and male figure, and the connections 
 between people.

Can you tell me about the process 
 of creating one of your paintings? How much time do you typically spend on a piece?

It usually takes me around 2-3 weeks to complete a painting, and I work 
 on it every day in my studio. I find that I'm most productive 
 in the afternoon and evening, though I do also work in the mornings. However, I try to work on a set schedule these days, because working too late can leave me 
 feeling exhausted.

Is there a particular painting 
 of yours that holds a special place 
 in your heart?

I tend to feel the most connected 
 to my most recent painting. Sometimes when I look at one of 
 my paintings that I made, say, three years ago, I feel like I didn't even paint it myself, but rather that 
 I’m looking at someone else's work.

How and when did your passion 
 for art start?

Like almost every child, I loved drawing and creating artworks. Perhaps my interest was indirectly influenced by my grandfather, who also dedicated himself to painting. 
 The crucial point for me was when 
 I visited the Secondary Art School 
 in Uherské Hradiště with my friend. 
 I immediately fell in love with it’s atmosphere, and after persuading 
 my parents, I applied for 
 the industrial design program. 
 Not only because of my passion 
 for creating, but also because 
 the traditional school system did not suit me. I felt like there was a huge gap in the student-teacher relationship.

ARTISTS INTERVIEW

Barbora Valášková

is one of the prominent figures of the new generation of the Czech art scene, offering 
 a lot to the field. Although she initially studied industrial design in high school, she eventually turned to painting. Her work explores 
 the psychological impact of space, utilizing current concerns and capturing the atmosphere

In your paintings, the only color used is blue in its shades. Can you tell us why you chose that color? I am debating whether I chose it 
 or it chose me. I started using blue 
 in my second year at AVU. It wasn’t 
 the easiest period of my life, 
 and the art studio leadership didn't help. Generally, the blue color symbolizes harmony and peace, which I was lacking at that time. Naturally,I started using shades 
 of blue in my paintings, which gave me a feeling of security. Although blue may seem cold 
 and unapproachable to some, 
 it has always been welcoming to me.

Oil on Canvas,

150 x 130 cm, 2022

In your paintings, we can find 
 some traces of fast fingerprints 
 or brushstrokes. Could you consider yourself an action painter?

I personally don't categorize myself. 
 I work very intuitively, and not all 
 of my paintings are expressive. Sensitivity, fleeting moments, rawness, and imperfection are important to me. In high school, 
 I studied design, where we worked with clay, plaster, and other materials almost every day. Sanding 
 and polishing were my favorite activities. It's natural for me to touch the material and work with it directly. That's also one of the reasons 
 why I paint with my hands - a close connection to the painting or object 
 is inevitable for me.

How long does it take you 
 to complete a painting? Is it a fast process, or do you make some sketches beforehand? I don't make sketches beforehand, everything evolves during 
 the painting process. I have a general idea which I gradually transform 
 onto the canvas, but everything comes together on the go. I am very impatient and I believe that 
 pre-planning would be counterproductive. Everything would be solved in advance through sketches. However, I do indulge 
 in longer observation phases, which are an essential part 
 of the process for me. If I'm not sure if the painting is finished, I put it aside for a while and will return to it after some time.

Barbora Valášková

Then I look at it with fresh optics 
 and perceive it completely differently. Distance is very important.

Where do you find inspiration 
 for your artworks? Are there 
 any artists that you draw inspiration from? I absorb perceptions from my surroundings, personal interactions with others, from everywhere. I am constantly observing, admiring 
 or disapproving, and analyzing everything. I used to be very concerned with the theme of fear, working with personal space and its disruption. Even though I seem to be an extrovert, my introverted side is increasingly asserting itself. Over time, I have tried to focus on more positive influences and often draw inspiration from everyday experiences and situations. Simply from the real present moment, which is always unique and unrepeatable, whether positive or not. Although formal processing may sometimes appear as naive childlike creation, the meaning is often deeper and more personal.

Do you usually paint in silence, 
 or do you listen to music in the background?

Definitely with a sound accompaniment in the background. The first thing I do when I arrive 
 at the studio is to play music 
 or a podcast.

It's always according to my mood 
 and the musical repertoire is very diverse. From techno to Taylor Swift, there are no limits in the studio.

What’s one art piece of yours that you feel really connected 
 to and why?

I have a few paintings that are closer 
 to me than others. It's 
 about the feeling they evoke in me even after a long time. Others are linked to a certain memory that was somehow special to me. I keep these paintings. I think everyone should keep a painting from a certain period of life.

How has your painting style changed over the years?

I used to lean predominantly towards abstraction, and over time, 
 I increasingly gravitate towards more realistic depictions. For me, the ideal 
 is to combine these two formal expressions together. I also experiment more and it is actually 
 a constant journey forward. I don't like to stand still, and given that 
 I have been painting with only blue color for about 7 years now, which is not easy, it is always a challenge.

EVENTS CALENDAR

2023 - 2024

JONAS BURGERT

DSC GALLERY

till 7. 7. 2023

The exhibition Stirn sticht organized by the DSC Gallery presents several canvases and drawings by the Berlin-based artist Jonas Burgert.

BOSCO SODI

Jonas Burgert

Martin Eder

MARTIN EDER

21.2.-27.5.

No Hell Like An Old Hell

Galeria Hilario Galguera, Madrid

18.5.-15.7.

KARMAGEDDON TICK TACK, Belgium

BOSCO SODI

24.2.-20.5.

Sapta Tathagata

Galeria Hilario Galguera, Mexico

11.3.-15.7.

Spheres and Sack Paintings

Axel Vervoordt Gallery, Kanaal

1.6.-1.7.

Elysium

Galerie EIGEN + ART Berlin

18.3.-9.7. 2024

Origen

Harvard Art Museums, USA

12.9.-31.10.

Fountain of Youth

DSC Gallery, Prague

Photo: Václav Jirásek

“A white canvas on an easel in an artist’s studio 
 is often considered either as a clear white surface 
 on which an artist depicts something, 
 or an indefinite space delimited by the edge 
 of canvas on which an artist constructs an imaginary installation of the visible world.

It is, however, more probable that a white canvas 
 is neither a surface, nor a space, but a mirror.
 The question is: what does this mirror reflect?
 Logically, any mirror reflects the object in front 
 of it. There is an artist in front of the canvas 
 on the easel, and so the canvas-mirror must show
 the reflection of the artist.”

Viktor Pivovarov, 2023

I wanted to greet her, but she did not look at me, I wanted to hold her hands, but she had none, I wanted to love her, but I masturbated instead I wanted to drink but I had no mouth, I wanted to eat but there was no time, I wanted to cook for you but you were not home, I wanted to think but I was freezing I wanted to observe the way you wash your hair, But I had no eyes.

We are lost in an empty white space. Lost and lonely.

Naked, therefore vulnerable.

Deprived of individuality and locked in transparent cylinders, Which envelop us but do no protect. Empty space, empty cylinder, empty clothes.

Only a mother’s embrace warms us, much like the soup she cooked. The clock ticks mercilessly on, keeping time, memento mori.

Black and white, death and life.

Ants flee upwards. Will it save them?

Máša Černá Pivovarová

Winter morning, 2022, oil, canvas, 125 x 140 cm

Presence, 2022, oil on canvas, 140 × 115 cm

We would like to introduce you the exhibition catalogue "White Mirrors", 
 which is available for purchase at the gallery even after the exhibition has closed.

Albert Karlovich Bossel and Anatoly Grigorievich Makushkin in the album of Pavel Pepperstein went into 
 an unknown space, into the space of Pivovarov's paintings, 
 went to observe.

To observe the observer. 
 Because every artist is an observer 
 of either inner or outer worlds, 
 the eye is his most important organ, as it symbolises his ability to both see 
 the outer world and enter 
 the inner one.

The ones closest to us are the easiest 
 to observe. The son observes 
 his father, the father observes his son. And so they will end up having thesame sense of humour,
 imagination, infantility, generosity or a talent for mystification.

They will even go as far as exhibiting together.

In 1999, at the exhibition father 
 and son the Kunsthaus Zug, in 2000, the Moscow gallery 
 Obscuri Viri under the name Things in the landscape.

In the same year, they performed 
 as two agents at the Kulturzentrum bei den Minoritem in Graz. In 2012, they introduced Ophelia the Regina Gallery London and 
 Text-image-concept Kunstverein Rosenheim, Germany.

In 2016 they had an exhibition Three Asteriks in the Moscow gallery Iragui. Exhibition White mirrors 
 at DSC Gallery in Prague, which took place from 24. January to 10. March 2023, was their first Czech duet.

Máša Černá Pivovarová, 2023

NEW FACE AT PRAGUE DSC GALLERY

Pavla Malinová “Cuckoos”

Pavla Malinová is one of the most prominent figures in contemporary young Czech painting. She was born 
 in 1985 in Vsetín, but currently lives and works in Prague.

She graduated from the Faculty of Arts at Ostrava University, where she studied in the Painting Studio II under František Kowolowski from 2005 to 2010. After her studies, she decided to focus mainly on paintingshe is a figurative painter, with robust figures in her paintings playing ambiguous games.

She belongs to the young generation of Czech visual artists and has participated in a number of exhibitions in Czech and foreign institutions and galleries. At the same time, her works are part of a private collection.

She gained wider recognition in 2019 as a finalist for the Jindřich Chalupecký Award, where the jury recognized her paintings 
 for presenting a "complex aesthetic that effortlessly navigates 
 a broad spectrum of historical references without narcissistically drowning in a self-referential relationship to the classic medium."

The theme of spirituality 
 and physical and mental tranquility still represents one of the key motifs in her work.

She works with contemporary 
 and archetypal symbolism, and her work is characterized by refined colorfulness and a constant hint 
 of light, underscoring the specific concept of the inner spirituality 
 of her paintings. The theme 
 of spirituality and physical 
 and mental tranquility still represents one of the key motifs in her work.

An example of this is her exhibition "Esoteric Hollow Worldliness" (2015) at the Nevan Contempo Gallery, where curator Jiří Havlíček included Malinová's work in the "New New Age" style.

The borderline abstract paintings were accompanied by a spatial installation created in collaboration with Filip Kraus, who designed typography presented on objects made from gym mats, evoking 
 an atmosphere of a gym 
 or the feeling of exercise itself."

In the Studio of P. Malinová Photo: Ondřej Polák

P. Malinová “Cuckoos”

Photo: DSC Gallery archives

P. Malinová “Cuckoos”

Photo: DSC Gallery archives

She chose time as the central theme. In her work, Pavla deals with its relentless transience and our natural perception 
 of its flow.

The solo exhibition "Cuckoos" 
 at the DSC Gallery in Prague, which was open from March 21 to April 25, 2023, presented a selection 
 from Pavla Malinová's latest painting series. She chose time as the central theme. In her work, Pavla deals 
 with its relentless transience and our natural perception of its flow - in terms of loss, farewell, forgetting, 
 or forgiveness. The central symbol is cuckoo clocks - traditional clocks whose ticking never stops, and which at the right moment, insert unwanted gifts into foreign nests, just like 
 the similarly named creatures 
 from the avian realm. 
 They take the form of personal crises, new hopes, spirituality, or intimate moments that pass through the filter of personal mythology and authorial symbolism. Explains exhibition curator 
 Michal Stolárik.

P. Malinová “Cuckoos”

Photo: Ondřej Polák

"EVERYONE wANTS TO COLLECT
 contemporary art"

From the lecture of Olga Trčková Art Institute at the Andaz Hotel in cooperation with DSC Gallery

Nikola Nováková

Photo: DSC Gallery archives

The lecture on “Everyone wants to collect contemporary art” was curated by gallerist Nikola Nováková.

We are living in a time when mass culture is devouring society. 
 We all strive for success and don't even realize how similar we are 
 to others. We have the same hairstyles, the same cars, and the same apartments. In this monotonous grayness, a desire is born to be different and authentic. It begins with wanting to enhance your home somehow, to distinguish it. And so, one beautiful day, you give yourself a gift in the form of artwork. The beauty of art is that it is not interchangeable, unlike design, which anyone can copy.

How to start buying art?

If you desire to become a collector but don't know how to start, 
 it's easier than you think. Just go to a gallery and talk to the gallery owners. Don't be afraid to ask for advice. When building a house, 
 you also hire an architect. It may happen that you never even thought about collecting. You walk past a gallery and something catches your eye. Whoop! A few years later, you may become one of the biggest collectors.

Milan Houser

The invited guest of the lecture 
 at the Olga Trčková Art Institute in the Andaz hotel.

He came up with a unique technique that no one else had ever used before. 
 He made his own cellulose lacquer with distinct characteristics that are not present in other available materials. The production facility assigned a humorous name "Bezbarvý Houser" (Colorless Houser) to the lacquer. Milan works 
 by gradually pouring the lacquer onto the canvas. The artist's paintings can have up to 100 liters of material. Additionally, the drying process for these works can take to dry anywhere from six months to two years.

Milan Houser

Photo: Marcianocontemporary

How to recognize quality artwork?

It is not easy to establish rules that would certainly identify the quality 
 of a piece of art. Such assessment 
 is always highly subjective. It is very important to note what initial emotion the artwork evokes in you. However, there are specific procedures that you can at least partially follow. It is always advantageous to take a closer look 
 at the artist. A good indicator is when the artist has been sticking 
 to the same style for years and has made no significant deviations.

A great example of creativity can be observed in the works of Milan Houser, an artist who was invited 
 to speak at this lecture. Nicolas Bourriaud, a curator and art critic, compares art to music composition. There is nothing new anymore. 
 Only known melodies and rhythms are being rearranged and adapted. Therefore, he appreciates when he sees something new in an artwork, 
 in a way that no one has 
 created before.

Colors from Cosmos, Milan Houser Combinated technique, 2021

NFT art

NFT art (Non-Fungible Token) is currently one of the most discussed topics in the art world. The newly introduced format allows for the sale 
 of digital artwork that is secured

by blockchain technology, ensuring its authenticity and uniqueness.

It is one of the many options available 
 for collectors.

Visualization of the virtual DSC Gallery by Olgoj Chorchoj
 DSC Gallery

Photo: DSC Gallery archives

The biggest boom occurred around 2020 when everyone was locked in their homes due to Covid-19 pandemic. During that period, DSC Gallery became interested 
 in NFT art and became a pioneer

in the Czech Republic.

We developed a digital gallery 
 that is available online and allowed people to view the artwork of various artists.

DSC is a contemporary art gallery with an exceptional exhibition program featuring leading domestic and international artists. 
 Since its establishment in 2009 in the heart of the historic Old Town, the gallery has gained respect not only from experts 
 but also from a broad audience, thanks to its talented team 
 of curators, art dealers, and investment advisors. DSC stands out for its high-quality artistic content and high standards of service provided to its customers.

Jonas Burgert: Stummfang, oil on canvas, 90 x 80cm, 2021

Photo: DSC Gallery archives