Pavel Příkaský

  • Czech Republic (b. 1985 in Planá u mariánských lázní)
  • Currently in Prague, Czech Republic.
  • Pavel Prikasky mainly use media of painting, he blurs and obscures its boundaries using specific installation strategies, sculptural interventions and small steps from flat image to spacial object.


The real and the abstract mix in Pavel Prikasky’s pictures like fluids in laboratory solutions, the picture layers simulate the surface of a body or systems of internal material changes. Currents of nutrients flow through the painting, the pictures carry a micro world, hybrid physical bodies appear. He links to current phenomena such as genetic modification or medical practice. He approaches his painting as in growing a culture, like a live tissue, bio-matter.

Here I re-evaluate for myself what is abstract painting: it is not just ‘’colour field painting’’, but there are also specific links and images. I am interested in hybrid phenomena and I try to transfer them to my own thoughts about a picture.

Večeřová and Příkaský seek to blur the lines between their disciplines placing works within one another, layering connections and conversations. Throughout these interactions the artists consistently steer a course between figuration and abstraction, the narrative and the incidental giving their collaborations the space in which to speak.


Pavel Příkaský vystudoval malbu na Akademii výtvarných umění v Praze, a přestože se prostřednictvím daného média i nadále vyjadřuje, dlouhodobě ve své tvorbě znejasňuje jeho okraje.

V malbě pracuje s organickými materiály jako vosk, latex, textilní třásně. Prostřednictvím třásní se obrazy někdy propojují a jakoby vzájemně vyživují, jindy „stékají“ na podlahu galerie.

reflektoval hybridní momenty současnosti, jako je například kyselý déšť nebo genetická manipulace.

Hybridita je tématem i v samotném malířském provedení, v němž se plošné struktury a materiály místy prolínají s iluzivním motivem zvířecího těla, abstrakcí odvozenou z mikrosnímku kapky vody nebo vědecko-mytologickými hybridy lidí a zvířat.

Ve spolupráci s Miroslavou Večeřovou, v rovině umělecké metafory používá Příkaský postupy současné medicíny, a to jak při stanovování „umělecké diagnózy“, tak při následné „léčbě“. Na tělech performerů i na stěnách galerie nebo v médiu videa často používají autoři pigmenty, které mají medicínské využití – například genciánová violeť nebo Pařížská modř je užívaná jako malířský pigment ale také jako lék v tabletách proti ozáření nebo jako protilátka při otravě thaliem (toxický prvek který je součástí nových technologií).


Pavel Příkaský studied painting at the Academy of Fine Art in Prague, and though he still works with this medium, he blurs and obscures its boundaries using photography, fragments, series and installations. When working with photographs he is interested in the defects that this “perfect” instrument of depiction suffers. Recurring motifs are disappearance, fuzziness and over-exposure, colour deflection and the overlapping of individual images that takes place if light-sensitive paper is exposed several times to another negative. However, the artist less interested in the properties of photography but more in the saturation of the world by the photography image and film and says of his approach that it is more intuitive and independent on the surrounding reality.

The fragment finds its way into Příkaský’s paintings often in connection with work in a specific environment that implies discontinuity. One of these environments would be the Trafačka Gallery, where in the installation Nižší napětí / Low Voltage, 2014 he combined the flaky wall with the austere font of Times New Roman. He took a similar approach in the exhibition Najdeš ji v levém uchu / Look in Your Left Ear at the Mimochodem Gallery (2014). Here, however, an important role was played by the environment of the vestibule of what had been a precisely designed metro station. Příkaský drew on this historical reference to reveal the fictive remains of murals. It is clear that the fragments of paintings by the artist refer to the work of the memory and the operation of recollections. A possible historical parallel, especially as regards the more densely painted works in which the artist uses the entire surface of the canvas, could be the artificialism of Štýrský and Toyen. However, unlike these artists Příkaský works with far more real and realistically depicted objects.

Příkaský has recently been working on installations and video installations with Miroslava Večeřová (Díl první: Jazyk Krajiny / Part One: Language of the Landscape, 2013 and Dvojité dno / Double Bottom, 2014 and Díl druhý: Umělé dýchání / Part Two: Artificial Breathing, 2014). Here too the question of the possibility of representation remains important. The paradox of this endeavour to represent objects is captured by Jean-Francois Lyotard in Notes on the Return and other essays, in which he says that the object that we observe for too long escapes us and disappears. The portrayal of several objects that Příkaský selects for his series of pictures disappears in a similar fashion.

Author of the annotation Tereza Hrušková  Artlist


The word Polysemy refers to the capacity of a sign, image or word to have more than one meaning. This exhibition is the fourth in a series of collaborations between London based Večeřová and Prague based Příkaský combing painting, performance, video and site specific performance in a unique creative dialogue. For Polysemy the exhibition space is simultaneously installation, stage and a site of performance. Adopting the visual language and commercial tropes of high street medical providers, the exhibition takes its form from a new collaborative video work, Inner Monologue (Večeřová and Příkaský , 2016) which was shot partly within a doctor’s surgery. The waiting room aesthetic, embracing the architecture of the gallery and its shop front context, creates a looping meta reference between art work, location and audience. The installation itself becomes an artwork, an intervention within the landscape of shop fronts, offices and private residencies. The uncertainty created between the visual appearance of the installation and it’s operation as art work speaks to the artists’ concerns with ambiguity in relation both to their use of imagery and it’s reception. Narrative and figuration combine with abstractions and ambiguous signifiers to create a mysterious and fragmented view of the world which, perhaps superficially recognisable at times, remains elusive and out of reach, like a sensation of déjà vu. There is a richness in the tension between the apparent familiarity of the wider image and the strangeness of it’s details. Polysemy weaves together large scale, microscopic photographic images with sculptural interventions in the gallery space, abstract painting with video work and perhaps most mysteriously a huge image of a woman about to undertake an MRI scan. The sterile environment, bulky equipment, tubes and flimsy medical robes combine in the familiar medical trope. However, rather than being prompted to a refection on the patient’s predicament, the viewer is drawn to her feet: smeared with pastel yellows and blues, in a manner reminiscent of the Indian Holi festival of colour. This use of colour, it’s juxtaposition with the larger sense of the image, transforms both the woman’s participation and the image’s power as a whole, into something altogether more performative. The painting and other interventions in the space that punctuate the installation are imbued with the same sense of ambiguity. First appearing as gently coloured, abstracted forms, they contain a more complex index. Figurative forms emerge from the images; an eye, a mouth, they speak to the perception that is gained from stillness. The relationship between image, action and space reoccurs throughout the installation. It is conceived as a work which can be experienced from the street or within the gallery. One can pass by with a glance or come in and wait. Look. Perhaps become part of the work for those walking by, figurative additions within a conceptual construct in which the action in the space becomes part of the image. Not all these tableaux will be happen stance. In addition to the their works and sculptural interventions, Večeřová will work with Příkaský to devise a new performance within the installation, developing its formal concerns and further interrogating the relationship between image, sculpture and performance. This performance will be free and open to public, taking place at 3pm Saturday 12 May. Večeřová and Příkaský seek to blur the lines between their disciplines placing works within one another, layering connections and conversations. Throughout these interactions the artists consistently steer a course between figuration and abstraction, the narrative and the incidental giving their collaborations the space in which to speak. In expanding this language Polysemy becomes eponymous – an exhibition which is more than the sum of its parts, activated and articulated equally by viewer, performer and artist. In exploiting the potential of ambiguity in this way, disrupting visual expectation, the show becomes a space to reconsider the narratives constructed around us. -----'Ben Roberts is Director of the Artists’ Research Centre and Associate Curator at Central Saint Martins, University of the Arts

Pavel Příkaský & Miroslava Večeřová: Images That Occupy Thoughts Fabruary 16 - March 17, 2017 Curator: Pavel Kubesa ------------------------------------------------------------------------------------------------------------------ In their common projects, Pavel Příkaský and Miroslava Večeřová focus on intuitive, fluid installations which are basically framed by the medium of painting. Medium of painting is “infecting” the character of the work´s photographic element, the nature of installation in space, to evolve into what can be regarded as a living, performing corporeal entity. It becomes a device in the process of exploring a preconceptual world, a way of inducing feelings, an endeavour to make real the sensation of touch: it is something that relates the cognitive body with the irrational aspect of its existence. ------------------------------------------------------------------------------------------------------------------ A recurrent subject of Pavel Příkaský´s paintings are fragments of an animal´s body. There, as he believes, an animal actually “offers itself” as an aid on the way to the understanding of human corporeality: observing an animal, I feel as though I were observing myself, by way of comparison. In a picture, the image of an animal raises the viewer´s awareness of their own “self”, their own bodies. Thus it sets up a certain mode of subjectivity, a kind of tuning that carries us through a more complex aesthetic situation which has at its core concern with an elementary sensibility, i.e., corporeality as a clue to the Images That Occupy Thoughts. ------------------------------------------------------------------------------------------------------------------ Miroslava Večeřová balances out paintings with digital photographs depicting mundane objects of everyday use relating to the human body. Večeřová´s creative intervention consists in modifying the contextual situation in which these objects are set, which may be either an artificial stage set simulating natural environment, or a characteristic angle of view, choice of a particular photographic focus, or concentration on minuscule disruptions. Consequently, an ordinary “appliance” or tool are transported into a newly defined reality, a fictional sort of nature, wherein products of civilization figure as newly engendered bodies of familiar creatures. ------------------------------------------------------------------------------------------------------------------ Příkaský and Večeřová take their treatment of the subject of corporeality further, to a wider cultural area. They are concerned with the ways in which we become aware of our bodies, how they are formed in response to the surrounding world, but also with the ways in which the human body itself partakes in structuring the surrounding world and in modifying its nature. Their images of an animal tail, horns, or of a crocodile´s grin, are to some extent questions about the condition of the purported human domination of this planet, which we have taken for granted as a one-way source of energy used for the fulfilment of our own privatized aims. To be sure though, by no means do Pavel and Miroslava aspire to postulate there an a priori doctrine of social criticism – they don´t necessarily regard the exponentially accruing potential of new hi-tech technologies as means of distancing us from a natural state. Rather, they assign them the status of a legitimate component of that which we have become used to define as nature. All that said, they regard this type of externalization of the senses in terms of a potential atavism: for them, new technologies and modes of the world of creation enable us to grow new appendages, or “tails” on our bodies, suggesting a regression to lower evolutionary stages of our genus. ------------------------------------------------------------------------------------------------------------------ An interesting commentary that is of relevance to Images That Occupy Thoughts can be found in the book by the Polish sociologist Zygmunt Bauman, Úvahy o postmoderní době (“Essays on the Postmodern Time”, texts edited by Bauman for publication in Czech: “The human body is today primarily an organ of consumerism, and its appropriate condition is judged by its capacity to absorb and accept everything offered by the consumerist society. The postmodern body is above all a recipient of experiences. It consumes and digests experiences.” The relevant word here happens to be “digestion”. ------------------------------------------------------------------------------------------------------------------ A similar situation is illustrated by a mural painting that permeates the gallery space, linking together the individual paintings on display. In the wall painting, Příkaský and Večeřová use the formal motif of an intestine which they “elongate” ad infinitum, disporoportionately to its natural physiological shape, extending it so as to encompass the entire perimeter of the walls. As a digestive organ, the intestine may serve as a metaphor of the postmodern body, a projection of Bauman´s “gatherer of delights”, a limitless digestive tract. The gallery walls thus become a scale model of the human body, a “timeline” of its performance during which our mind is occupied by a stream of images. Příkaský and Večeřová are concerned with this sense of reversal, visualisation of the internal, the shift of the inner onto the surface. ------------------------------------------------------------------------------------------------------------------ This particular aspect is likewise reflected in these artist´s treatment of the medium and object of painting: namely, they both aspire to step out of the pictorial surface, into the surrounding space, to turn the painting itself inside out – to let its material (i.e., emotions) enter into space, to bring to life the imagined, to materialize feeling. In Images That Occupy Thoughts, they have arguably reached the farthest point of their common trajectory: here, the image and painting do not overflow into the surrounding space only by way of installing interventions (the use of tassels, relief sealant brushwork, superimposition of painting over digital imagery), but newly also by stepping out of the pictorial surface through minimalistic, visually controlled performance, a sort of staged tableaux-vivants. ------------------------------------------------------------------------------------------------------------------ At that point, they part ways with Bauman. The latter believes that those who “strive for physical performance,” i.e., who consume delights, “are haunted by anxiety which cannot be permanently dispelled by any form of performance and by any type of effort.” For the gatherers of delight there exists no remedy, as “each will only bring them a short-term, temporary relief, and their trust in its magic powers will evanesce soon after intake”, wherefore “they engage in frenzied search for new miracle cures and magic formulas...” For their part, however, Příkaský and Večeřová set their performances into exactly the opposite context: that of a state of relaxation, rest, stepping out of the stream of images on the imaginary timeline in an outward direction, meaning towards themselves. ------------------------------------------------------------------------------------------------------------------ The interesting aspect that concerns the two artists´ is their approach to the question of abstraction. There is a plausible analogy between the very process of abstraction and digestion in the sense of reduction of material: abstraction is no more the question of style, but much more the way of treating the topic. Though some of the paintings are non-figurative, they ought to be interpreted more than anything else as large-scale details, zoom-in views of the microcosm of the cells, detail views of the human skin, water or blood. Thereby, they become something like visual allergens whose purpose is to induce the process of imagination of a sensory perception. There, abstraction comes to play the part of a tool of the artists´ analytical reasoning which they apply in their common projects, while the actual creative output as such remains predominantly representational, illusive.

Inner Monologue Accompanying text for Inner Monologue, SPZ Gallery, Prague The hospital environment, and the consultation room in particular, is inseparable from its associated administration. Sharp pangs of the typewriter from the days of our youth have been replaced by a quiet rhythm of movements on the ingeniously constructed wireless keyboard. The earliest medical records date from the fifteenth century. That may seem surprisingly late but until that time, which was the period of astrological developments, it had been not considered necessary to record changes in one’s health or to try cure it somehow. It was ‘astrological medicine’ that led to the birth of written medical records describing the patient’s health, ideas about treatments and then gradual systematization and archiving. Respectively, this practice demanded precise sketches and descriptive records of movements of the heavenly bodies and their influences on the patient. Currently undergoing research, Simon Forman and Richard Napier’s astrological library from the time of Elizabethan England, which is held at the Bodleian Library in Oxford (, is one of the most explicit examples of this practice. We may find it surprising that one of the founding systems of exact medical science is based specifically on astrological records. Yet, it can be argued that what bears a contemporary relevance, what is outlived and what is removed from the field of professional interest is always determined by the contemporary context. The framing of the consultation room in the video of Miroslava Večeřová and Pavel Příkaský clashes with this principle. Even though the filmic space fully conveys current medical standards, the borders of its reachability are disintegrating with each successive take. The commonly recognizable attributes of the space, backgrounds with medical diagrams and dissections of the human body, examination table and registrar cabinets are immediatelly distorted by the ambiguity of its elements. The female patient undergoes an unclear procedure on the border of magical ritual and art therapy. For the most part the treatment is sympathetic and distant, almost as described by Frazer in The Golden Bough; based on the belief in the relationship between distant and close subjects affecting each other. The liquids flow, enabling the image of processes happening internally within one’s being, yet at the very same time alludes to an independent narrative outside of the body’s reach, nevertheless exacting its influence over it. Every material and its tactile and visual characteristics play at its own exact meaning, however Mirka and Pavel choose to leave it concealed. The audience is allowed to only perceive individual transformations and changes between static and dynamic processes which amalgamate, losing the possibilities of a straightforward interpretation. Is it possible that we have been manipulated into believing this is a treatment procedure by selected tropes of the space? The relationship between movement and settlement at precise moments defines a collaboration of the two artists exactly. Painting has been and still is at the heart of Pavel’s practice. Mirka works with photography and the specific installation strategies connected to it. In their mutual affectation, materials and their surfaces explode with gradual, almost alchemic changes in their meaning. As if it was necessary to remind us of their respective medium, Pavel’s painting, installed on the wall, is supported by props that have been made by the artists for their video. But the painting is fully drawn into the bowels of the continuous narration, as are the images that would be otherwise reproduced by Mirka through photography. This allows for an interplay of associative and abstract elements, resulting in a sensual flow of shots, liberated from the boundaries of the artists’ primary media. Even though everything seems to hold together by the unyielding framing of the projected moving image, the emphasis on material elements spreads to its surroundings, onto the walls of the gallery where new structures emerge. Those can both equally signify a spread of unknown contagion and a healing lotion for its treatment. To install one of Pavel’s painting in the space where, like the moving image, it levitates is a final gesture, serving to anchor omnipresent wondering of the potential viewer. It also gives a direction to the emerging shared working process. The title Inner Monologue may have been selected perhaps due to the vision to unify the two creative voices. But it can also narrate a gradual tension in the eyes of the patient watching a mute ritual, and in this respect it creates a crossover of the multi-layered human perception in a space unlimited by time constraints. Jen Kratochvil Translation to English by Hana Janeckova 2016

Subtropical climate

The new project by Pavel Příkaský (1985) is closely related to the original purpose of the premises where Entrance Gallery is seated today, i.e. the former orangery of the Břevnov Monastery. It monitors and contexts the genius loci of a unique place with “its own weather” which not only allowed for things that would otherwise be impossible in the external environment such as growing citrus fruits, but it also mediated a physical experience of “a different situation” in terms of a change of scents, air humidity, temperature and visuality.

Příkaský is attracted particularly by the emotional dimension of the controlled transformation of everyday reality in a simulation of an ideal, paradise-like state as well as by specific means through which it may be achieved. Visually, Příkaský draws upon the field that loosely relates to the former function of the building. Using his artefacts, his exhibition returns to the premises the magical atmosphere it once had when it was an orangery, creating thus a unique space absolutely independent of its surroundings, where no rules apply and almost anything is possible.
In order to achieve it, he uses various media, so we see an object, video, sound installation and primarily paintings with symptoms of a photography participating in the same territory. The total of canvases – as it is a matter of habit for Příkaský – make up a specific visual vocabulary: isolated visual references, fragments of actions, objects and tools together forming a non-literal set, open to an arbitrary arrangement. Furthermore, the touches of a brush are often almost imperceptible without any foreground or background, although it informs about the depicted objects with realistic illusiveness.
The components overlap and merge, but even then we may witness a “different” kind of logic. The hierarchy of the usual stratification is distorted and the layers create a new image, which – at least partially – epitomises the current atmosphere of advanced technicality clearly larded with primitivism.

Radek Wohlmuth

Collaboration with Miroslava Večeřová:

Miroslava Večeřová & Pavel Příkaský - PART TWO: FAKE BREATHING

The project, Part Two: Fake Breathing by Miroslava Večeřová and Pavel Příkaský is a result of authorial collaboration following the first presentation of their joint work, Part One: Language of Landscape at the exhibition in the former K4 Gallery, and the invited participation at Václav Jánoščík’s Peripheral Vision exhibition held at this year’s Moscow International Biennale for Young Art. Miroslava Večeřová (*1985) graduated from the Photography studio of Aleksandra Vajd and Hynek Alt at the Academy of Arts, Architecture and Design in Prague and from the University of the Arts in London. Pavel Příkaský (*1985) graduated from Vladimír Kokolia’s studio at the Academy of Fine Arts in Prague.

The collaboration enables both artists not to deal with their topics primarily through their own media, but to work beyond these. However, the work is characterized by constant references to handcrafts. The artists play with the opposites of simulated and real, through standards of post-production procedures. The tool of expression is still the relationship between the static and moving stages of an image and the clash between classical (western) and animistic irrational ways of thinking.

The human body is subjected to treatment, but this treatment just glides over the surface, concealing in its absurdity references to unreal environments. The media simulate each other, referring to the already artificially created elements. From a three-dimensional physical environment, they fade into a mediated surface to become principal architectural elements. Static surfaces come alive. They communicate in direct connection with the space, they are connected to it. The images are being confronted and tested. They balance between physical and virtual stages, they transform their stationary surfaces into synthetic associations of sensations. They redefine relationships of concepts such as image and shape, the motives used revealing characteristics and ideas basically associated with different themes.

The exhibition offers a view into the process of thought which is never completed and will concatenate in a series of associations. The work of Mirka and Pavel is characterized by a certain freedom which responds during the process of inception. As if the media were fueled by each other, exchanged positions and took on secondary properties. The individual works in the exhibition originated continuously. The starting point was a wall painting based on the context of space.

Eva Slunečková

Při pohledu na jeho obrazy si nelze nevšimnout s jakou citlivostí a elegancí se dokáže svým malířským rukopisem vyjádřit. Z jistého úhlu pohledu by mohl tento „estetismus“ a chápání obrazu jakožto slast z výtvarna nabízejícího artefaktu někomu připadat až jako buržoazně-modernistický přežitek. Stejně tak však musíme ocenit zdrženlivost, s jakou s výrazovými prostředky dnes tolik tradicí zatížené malby a zvláště pak „krásné malby” ve své tvorbě Pavel operuje. Nejen že se tím vyhýbá nástrahám, na nichž už v kontextu současného umění uvázla celá řada malířských talentů, ale díky tomu také dokáže rozehrát pozoruhodné partie, založené na spojení autenticity výtvarného projevu a vzájemného dialogu jednotlivých maleb v rámci větších cyklů. Pavel Příkaský dokáže udělat v podstatě s minimem malířských prostředků obraz hluboké symbolické povahy, který paradoxně svádí k pouhému prohlížení. Kvalita jakési dvojakosti poslední dobou výrazně prostupuje obrazy tohoto autora a jeho malířským myšlením. Na jednu stranu se Příkaský spoléhá na střízlivě přiznané malířské stopy a maximální kompoziční přehlednost obrazu. Na druhou stranu na svých plátnech zobrazuje předměty či výjevy, které ve vztazích reprezentují iracionální ozvěnu hlubší symbolické sféry. Princip dvojakosti Příkaský vkládá mezi jednoduše označené téma obrazu, respektive srozumitelnost motivu a jeho následné zamlžení. Obrazy koncipuje jako rozostřené a neúplné pohledy se sníženým stupněm kontrastu, často na hranici optické viditelnosti. Typický je pro tohoto malíře řemeslný důmysl a postup, jak lze až na samu hranici líbeznosti zhodnotit světelně plastické možnosti tenké a téměř monochromní malby na bílém plátně. (Michal Pěchouček)


Pavel Příkaský



Solo exhibitions

Transgenic Myth, NoD, Prague (2019)

Isotonic Song with Miroslava Večeřová, Fotograf Gallery, Prague (2019)

Pneuma, OGL LÁZNĚ, Liberec (2019)

Mantichora, with Martin Herold, TIC, Brno (2019)

Hybrid’s Potential, Atrium Žižkov, Prague (2018)

Polysemy, with Miroslava Večeřová, Vitrinka Gallery, Czech Centre London (2018)

Antidote, with Miroslava Večeřová, Start up, GHMP, Prague (2018)

Images That Occupy Thoughts, NoD Gallery, Prague (2017)

Timeline, 123 Gallery, Prague (2016)

Fear of Darkness, 207 Gallery, Prague (2016)

Inner Monologue, (with Miroslava Večeřová), SPZ Gallery, Prague (2016)

Subtropical Climate, Entrance Gallery, Prague (2015)

Jumanji lion fossil, National Theatre, Prague (2015)

Křeslo hýbej se/Chair-Move!, Berlínskej Model, Prague (2015)

Finger, Cloth, Lether, Liquide, Půda Gallery, Jihlava (CZ) (2014)

Look in Your Left Ear, Fotograf Festival, Gallery Mimochodem, Prague (2014)

Umělé dýchání/Fake breathing, (with Miroslavou Večeřova), KIV, Prague (2014)

False Bottom (guest: Miroslava Večeřová), The Chemistry Gallery, Prague (2014)

Tongue of Landscape (with Miroslava Večeřová), Fluidum-Endgame, Gallery K4, Prague (2013)

Photogapher, I.D.A, Prague (2013)


Selected group exhibitions

Healing 2.0, Meetfactory, Prague (2019)

Liquid Bodies, AQB, Budapest (2018)

Oh it is..., DOX Prague (2018)

Healing, Tschechisches Zentrum Berlin (2018)

The extended painting, Prague House Brussels, Brusel/Brussels (2017)

Junge Prager Junge Berliner, Tsechisches Zentrum Berlin (DE) (2017)

The Offense of Things, Emil Filla Gallery, Ústí nad Labem (2016)

Dreams that Money Can Buy, Drdova Gallery, Prague (2016)

4+4 Days in Morión festival, How Not to Want Anything, Desfours Palace, Prague (2015) L´Accrochage, Jiri Svestka Gallery, Berlin (2015)

Peripheral Vision, 4th Moscow International Biennale for Young Art, MMOMA, Moscow (RU) (2014)

About the Chair, 9 th Biennial of Photography and Visual Arts in Liège (2014)

Fotograf Festival 4, Seeng is believing, Prague (2014)

Wind Chill, Prádelna Bohnice, Prague (2014)

Recent Work by Artist-Bleisure Island (with Miroslava Večeřová), Autoitalia South East, London (2013)

Transgression, Exhibition of video and media art from Czech Republic, Hongkong (2010)



2005/2012 Academy of Fine Arts in Prague (studio of Vladimír Kokolia)

2011 Erasmus scholarship at Middlesex University London



Tate Exchange, Tate Modern, London (UK) (2017)

Other visions, 15th Festival of Film Animation, Olomouc (CZ) (2016)

EARLY MELONS International student Film Festival Bratislava (SK) (2009)