cee contemporary art collection

8/11/2019 Cee Contemporary Art Collection

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CEE CONTEMPORARY ART COLLECTION


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EGO Gallery

The concept of our gallery is reected in its name EGO. It promotesthe work of signicant personalities on the contemporary art scenewith a strong artistic ego. The focus of our dramaturge is on known

young and middle-aged artists who are established as a brand ofartistic uality with works that ri!al renowned art around the world.

"e aim to deli!er an e#ceptional caliber of contemporaryart to artlo!ers$ and to be a guarantee of good nancial in!estment for thefuture. In the comple#ity and di!ersity of today%s art world wepro!ide e#pert ad!ice$ speciali&ed and tailored ser!ices$ andrepresent the interests of our clients in their collecting$ in!estment$and philanthropic goals.

Kristna Jaroov'EGO Gallery (irector' studied )* +ontemporary*rt Theory at Goldsmiths ,ni!ersity$ ondon /istory of )odern and+ontemporary *rt$ and *rt 0usiness at 1otheby2s Institute of *rt$ondon and )* )arketing and +ommunication at +omenius,ni!ersity$ 1lo!akia. "hile managing EGO Gallery since 3445$ shehas e#tensi!e e#perience working for among others 1otheby2sinternational auction house$ and as an in!estment art ad!isor$curator and an independent art 6ournalist for !arious international

maga&ines


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7 8rices 9 artists2 biographies upon reuest

Ivan Csuai !"#$#%

"orking as a painter$ graphic artist and graphic designer$ knownalso as a musician$ composer and songwriter. 1tudies: ;5


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+onspiracy$ 344>


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La&o Teren !"#'(%

* representati!e of the generation of 1lo!ak artists who entered thescene with an a!ant-garde programme of KCew 8aintingK in thesecond half of the ;5


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)aniel *is&+er !"#$(%

*rtist: graphics$ painting$ installations$ drawings$ intermedia.1tudied at *?*(L;5F$ prof 8 )ate6ka$ T Ga6doSR in 0ratisla!a.In ;5>4s he started to use computers. +ooperated with computerengineers 8a!ol ?ischer and Igor laPanskM- mostly line drawings$morphing one shape into another. 1ince ;554 teaches at *?*(.i!es in 0ratisla!a.
http://monoskop.org/AFADhttp://monoskop.org/Bratislavahttp://monoskop.org/index.php?title=Igor_Kla%C4%8Dansk%C3%BD&action=edit&redlink=1http://monoskop.org/AFADhttp://monoskop.org/Bratislavahttp://monoskop.org/AFADhttp://monoskop.org/Bratislavahttp://monoskop.org/index.php?title=Igor_Kla%C4%8Dansk%C3%BD&action=edit&redlink=1http://monoskop.org/AFADhttp://monoskop.org/Bratislava


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Mi&+al C,ine-e !"#.(%

The paintings of )ichal +&inege L;5


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*mnesia$ oil on can!as$ ;5H # 3F4 cm$ 344


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3H4 # 344 cm$ 344H

Mi&+al /ernu0 !"#.1%


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In his work$ )ichal +ernusak e#plores current societal e!ents andresponds to problems with not infreuent political conte#t. In hispaintings$ the following themes resonate: the day-to-day dangersand risks of political power$ global industry$ science and research$new technology and$ not least$ the information o!erload of the

media$ which in many cases works with strategies of manipulationand speculation. On !iewing the latest large-format paintings of theartist$ the age-old truth appears to be that the greatest danger forhumanity is represented by its own species. +ernusak2smonumental compositions are reminiscent of apocalyptic !isions inwhich references to the past are mi#ed together with images of thefuture.

*pocalypse$ oil on can!as$ ;54 # B


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8reacherman$ ;54 # ;H4 cm


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+apitol$ 34 # ;54 cm


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8romised land$ 34 # ;54 cm


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Patr&ia Koyov !"#.$%

8atrUcia oySo!Npurposefully and intensely e#amines thepossibilities that can arise in her art through the application of newpainting techniues. 1he uses the words laboratoryJ and

researchJ to refer to her e#periments with the specic features ofthe tools she uses to create a painting. *s early as when she wasworking on her uni!ersity thesis$ she asked herself whether today itwas still possible to create or disco!er new techniues for painting.

This uestion has remained with her$ and is reected in here#periments with three-dimensional reali&ations. The pictures shepaints using a compressor$ a !arnishing gun$ air brush$ or spatulamanifest nally as abstract compositions with impressi!e !isualeVects. (eparting from the modernist tendency to paint from the

artist2s inner world$ oySo!N deliberately surrenders direct contactwith the painted surface$ lea!ing that to intermediaries$ to the toolsshe uses. In this way$ she se!ers the line of interpretation otherwiseformed by the emotional contact between the artist and herabstract creation.


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)avi 2a3 !"#.(%

(N!id 0aW is uniue among the younger generation of 1lo!akpainters. /e has been long and uite indi!idualistically e#ploring

the eld of abstraction in painting or$ in other words$ the creation ofpureJ pictures. This has also made (a!id one of the most distinctartists of the informal group of painters gathered around I!an+sudai2s *telier I@ at the *cademy of ?ine *rts in 0ratisla!a.

0aW2s starting points are representational images of reality. /e ismainly interested in the changeable structures of matter$ in thespatially acti!e features of colours$ and the moulding ualities oflight$ all as can be e#pressed through a medium limited to two

dimensions. E!ery single element of his creati!e process is a resultof rational analysis$ e#ecuted with the support of digital media.*lthough the results of his work appear close to those of abstracte#pressionist painting$ as we know it from accounts of the history of34th century art$ his strategy is the opposite of spontaneity oraction painting. (a!id constructs his pictures on the basis of athorough rethinking of how to build relationships within a picture.

Then he looks for points of tension in interactions$ deformations$disintegrations$ and permeations of shapes.


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Kristna R4 M5sro !"#."%

ristUna A. )XsNroS is one of a !ery strong group of young paintersthat has appeared on the contemporary !isual arts stage o!er thelast decade. 1he is a graduate Lstudio of @. olenPUkR of the*cademy of ?ine *rts$ 0ratisla!a. ristina disco!ered painting to beher fa!ourite means of self-e#pression early$ during her studies atthe *cademy. In her artwork$ she prefers imaginati!e themese!oked by her own personal e#perience$ nding inspiration$ oftene!en actual images$ in e#otic locations in distant countries. 1he alsoborrowsJ inspirational moments from historical photographs$ orhuntsJ for them among the apparently ordinaryJ aspects of here!eryday surroundings. /er works refer to the traditional imagery ofillustrati!e or symbolic painting$ and in them she is continuallye#amining the narrati!es of the relationships of the human to therest of nature. /owe!er$ the stories are blurred by the semanticminimalism of her works$ and the seemingly settled poetics of their

scenes are always disturbed by subtle$ sub!ersi!e moments.


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Lu8o Mi0le !"#.1%


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Mate9 *a8ian !"#7#%

1ince 3445 are the paintings of )ate6 ?abian characteri&ed with adistinct e#pression$ which is distinguishable due to the darkimaginery and the mystic of the choosen and represented moti!es.

These are the main reasons why the paintings of )ate6 ?abian arediVerent from the works of his peers. /is work is dened withcertain kind of disturbance and constant way of seeking$ particularypresent through the choice of distincti!e themes and its unusual!isualisation. /is straightforward approach is characteri&ed by somesort of detachment and decent detachment from a world of \highart%$ which is legible somewhere between the lines. This detachmentis not notable only in mode of painting approach = author isen6oying the \physical% aspect of painting$ proces of creating the

picture$ work with material itself $ and its reactions on a surfaceLinstead of accents of conceptual kindR$ but also in his ability tochoose a materials$ which are not such \artistic origin.%


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1wampland$ 3B4 # B4 cm


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anggling ack$ ;54 # ;H4 cm$ 34;;


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Eva/in:alov !"#.1%

The dominant !isual uality at the heart of E!a ]inPalo!N2s L;5


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Aot 6aas !"#."%

*cademy of ne arts and design L*?*(R (epartment of

Industrial (esign *?*( (epartment of Transport (esign = Q. lein- 3443- 344B *?*( (epartment of *pplied *rts = Glass (esign = . Ga!ula-344 - 344H*?*( (epartment of 1culpture$ Ob6ect$ Installation = . )eliS- 344 =344>


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ight ob6ect '


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Mar0o 2la;o !"#71%

*wards:344; ;.8ri&e$ OskNr ]epana *ward 344;$ 0ratisla!a$ 1lo!akia344H 1pecial 8ri&e$ ;. 0iennale$ +aceres$ 1pain

344> ?inalist 1o!ereign European *rt 8ri&e 344>$ ondon$ ,


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Mare0 Kvetan

;555 = 344; @Q@,$ 8rof. (. ?ischer

;444 (ollars$ 34;;$ ;> # ;F # 3 cm


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Mar&el Mali !"#7.%

3445 - 34;B @Q@,$ prof. (aniel ?ischer

*wards:34;B aureate$ E11 *rt *ward +EE$ 1lo!ak republic34;;nalist$ 8ainting 34;;$ foundation @^0$ 1lo!ak republic34;4 nalist$

8ainting 34;4$foundation @^0$1lo!ak republic34;4 nominee$1trabag *rt award$ *ustria3445 nalist$ /enkel *rt award$ 1lo!akAepublic3445 nalist$ 8ainting 3445$ foundation @^0


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Ro8ert 2ieli0 !"#'


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Aa= >a0ov? !"#.7%

*dam Qako!M is part of a new wa!e in 1lo!ak painting that againposes uestions about the &one in which images emerging throughthe medium of painting intersect with images created withmechanical$ digital or other industrial media. In Qako!M2s case$ the

space for confrontation is pro!ided by the medium of photography$which in its digiti&ed form turns a photograph into a formal pre-image$ or the opposite$ of the painting. Today$ the !iewer2suncertainty about the techniue used to create a picture is not onlyrele!ant to the domain of painting in this time of computers andB( modelling$ it is now almost constantly pro!oked in the realms ofphotography and lm as well. Qako!M inhabits the mediaen!ironments of both painting and photography with a condencederi!ing from his precise use of the techniues of illusion$ which

results in the mutual intertwinement of these media. It has becomethe purpose of his artistic work to o!ercome the uniue problemsthat arise when trying to use these media and technologiestogether. /e deliberately induces doubt in the !iewer$ who wonderswhether she is looking at a painting of a photograph or a


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photograph of a painting = or at both simultaneously. /owe!er$ thisartist2s playfulness is reected not only in his use of technicalanagrams and his testing of the !iewer2s capacity to distinguishamong !isual stimuli.

Co title$ B;4 # 344 cm


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Co title$ airbrush on can!as$ ;


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B4 # 4 cm


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Ale@ elina !"#..%

ryptic minds$ ;


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Co title$ ;44 # >4 cm


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Co title$ ;44 # >4 cm


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Blasta 0ov !"#."%

@lasta _Nko!N is one of the most outstanding talents on the young$contemporary 1lo!ak art scene. 1he creates uncon!entional andinno!ati!e te#tile paintings by hand and machine embroidery. 0y

utilising a combination of !arious kinds of fabrics$ ribbons$ and lacesshe creates a multi - dimensional space$ re!ealing her desire toe#ceed the limits of the medium and enter a tangible reality.Emotionally charged gestures and massi!e stitches resemble morethe strokes of a paintbrush than incredibly precise and meticulousembroidery$ signicantly pushing the boundaries of this medium.

The artist e#plores the psychological shades of the bohemian anddecadent nightlife of young people$ in this seemingly amusing world

we glimpse moments of helplessness$ pain and absurdity. The ideaof self-disco!ery and self-e#pression$ normally hidden within us as asilent scream$ acts here as a persistant pressure inside the layers.@lasta _Nko!N re!eals her turbulent primary fascination with humancharacteristics that are soaked through the fabric of our li!es.

The impressi!e si&e of her works attracts us from afar with amagnetic pull$ drawing us directly to the sophisticated details of herimagination that absorb the !iewer into the !ibrantly laced storiesand sensory pleasures. The use of an automated sewing machine isthe author2s impetus for deeper relief$ and supplies her artworkswith a depersonali&ation and an ironic tone.

@lasta _Nko!N L 7 ;5R.

*wards34;4 ' ]ED BBB$ CNrodnU galerie -@eletr`nU palNc$ 8rague' +D '?inalist 3445 ' 1cooter 3 : 0iennial of 1lo!ak +ontemporary art$ .oniarek gallery$ Trna!a' 1 ' 8rice of ury344< ' ?inNle +eny ]EDBBB$ CNrodnU galerie -@eletr`nU palNc$ 8rague' +D ' ?inalist344> '+ena Egoart$ galXria 0astart$ 0ratisla!a' 1 ' ?inalist

0iennale:344> ' 8rague0iennaleB$ arlin /all$ 8raha' +D344> ' 1cooter:0iennial of 1lo!ak +ontemporary art$ . oniarek gallery$ Trna!a' 1

1elected group e#hibitions:


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,nlimited I.$ embroidery on te#tile$ ;4 # 334 cm


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In the 0lack ?orest$ H # >Hcm

The 0irds are coming H # >H cm$ te#tile$ 34;B


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Mare0 Jarotta !"#..%


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Anrea KoDe&0

Eyes$ oil on can!as$ ;>4 # 344 cm


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Eri0 >ille !"#7.%

1ince his early work$ the !isual fascination of Erik Qille draws energyfrom sources$ which are not uite usual for the medium of painting$but thanks to his artistic acti!ities$ they settled in contemporary

1lo!ak paining uite well. The fact that Erik Qille cunninglyappropriates means of e#pression$ ob6ects$ methods$ and themes ofthe so-called consumerist culture$ pop-culture or !isuality of theelectronic media is a clearly identied attribute of his indi!idual!isual language. "ithout any problems we recogni&e elementsknown from the wild and mad !isuality of the present times: comicbook$ animated cinema$ internet$ computer games$ street art$graWti$ tattoo$ package design$ iconography of ad!ertising andentertainment business$ political propaganda all the way to the

design of serially produced plastic ob6ects including toys.

*wards 34;4$ oung artist laureate of Tatra 0ank ?und34;4$ 1trabag*rt *ward ' ;st place on the @^0 8ainting344F$ B. miesto na @^0)aba ' Brd place on the @,0 8ainting344F$ Igora alnXho *ward$ 'I@. DlUn outh 1alon $ +D


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8la!ba (una6om$34; ' ;H4 # ;54 cm ' paintings

Cew error3445 ' ;;4 # ;;4 cm ' lightbo#'drawing


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MatLnyi !"#."%

ar$ 34;$ oil on can!as$ ;F4 # H4 cm


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Ja0u8 Re0en !"#.'%

Co title$ oil on can!as


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TreeF ;54 # ;H4 cm


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Martin Ger8o& !"#7"%

;55;'5F - *cademy of ?ine *rts 9 (esign$ 0ratisla!a$ 1;553'5B - 1lippery Aock ,ni!ersity of 8ennsyl!ania$ ,1*

;55H - +ollege of (anish (esign$ olding$ (enmark;55> - postgraduate study$ +ollege of (anish (esign$ olding$(enmark;55


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)orota aovs0 L;5>BR

One of the key representati!es of contemporary 1lo!ak painting is

(orota 1ado!skN L;5>BR. 1he works with motifs uite rare in 1lo!akpainting of the last decades$ motifs such as realistic nude studies$monumental portraiture and +hristian iconography. "ithin thisframework$ she is acti!e not only in painting but also photography$installation art$ the creation of ob6ets d2arts$ and !ideo. 1ado!skN2s!ision of the human body is relie!ed of primary erotic meaningsthis can be seen in both her e#aminations of the !isual ualities ofbody fragments Lphotographs of breasts deformed by hands$unidentiable skin folds$ details of skin with hairs$ etc.R and her

depictions of saints Land other spiritual beingsR$ which in 1Ndo!skN2scase go beyond the established canon.


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Bi0tor *reo !"#7%


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2oris ir0a !"#."%


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Katarna Jane:0ov !"#..%


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)o=ini0 6lin0a !"#.#%

34;B Cominate Essl art award for 1lo!akia 34;B

34;; 1eminalist 1trabag *rt*wards 34;;


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Eri0 2iner !"#7%


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Peter o90a


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Jura9 Basil0o

344B-344H ?aculty of *rts oSice$ 1lo!akia$ prof. A. 1ikora$ and doc.*. 1&entpXtery344B - ?ine *rts ,ni!ersity 0ratisla!a$ prof (. ?isher344 - ?ine *rts *cademy$ 8rague$ doc. @. 1krepl


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Bo9te&+ Kolen:0 !"#$$%


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Mare0 Or=an0 !"#'.%


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Anre9 Mar-o:


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Ja0u8 Tra9ter


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Mi&+al Gavula


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2ar8ora Matrlov !"#.$%

Martin Meiner


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Petr Ni0l !"#'(%

)avi /ern?


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Blai=ir Ko0olia


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Mar0us Pros&+e0


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Ester Csur0a


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Aurelia Grat,er


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*lorian Lan-


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Mi&+a PayerF Martin Ga8riel


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tean Kreu,er


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Anrei Bar-a


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oe 2ylan


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Peter Matyasi


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Peter Na&+ti-all


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)u0i& )e9an


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Re=us Gre&u


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Julian Lor8er


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)i#ed media


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Peter i=on Mu+l+auser


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Jan Ger=ot


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ROELINE )E T6LIN
http://www.b12gallery.com/images/artists/artist13/art4-xl.jpghttp://www.b12gallery.com/images/artists/artist13/art3-xl.jpg


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