Kateřina Šťastná
In recent years, the work of Kateřina Šťastná has been accompanied by a keen interest in observing the relationships and connections that naturally arise from our physical existence. Just as every step we take leaves behind the imprint of a footprint...
Next to each other II, ceramics, 2024
MY BODY, 170x90x70, plaster, 2024
STAY IN CONTACT, 50x30 cm, plaster, 2023
HMOTA DECHU - HMOTA VZDUCHU, sádra, 2023
Body of Breath, 20 x 25 x 10 cm, marble, 2024
BREATH IN, from diary entries, 125 x 50 cm, glass beads, textile, wood, 2024
MY BODY NEXT TO YOURS, 40×40 cm, glass, beads, textile, wood, 2024
Testimonials
All testimonials
Jako autor uměleckého díla vytvořeného na zakázku pro showroom Hoffmann-Žižák Mercedes Benz v Praze bylo pro mě velkým potěšením spolupracovat s Markem Jakúbkem a jeho platformou Artist’s Hero. Marek vytvořil prostředí, které chránilo integritu mého tvůrčího procesu a zároveň citlivě vyvažovalo vizi klienta a praktické potřeby během rekonstrukce jejich nového autosalonu. Jeho profesionalita, komunikace a porozumění současnému umění učinily z této spolupráce hladký a inspirativní zážitek.
David Strauzz
urban contemporary and street artist
Already during your studies at AVU, you become familiar with what the careers of other figures from the art world look like. Gradually, you discover your own opportunism as a certain driving force that cannot be simply suppressed. You begin to ask questions about where and in what light you will exhibit, who will represent you, and who will follow your work. The art world in which you exist should ideally be clear and transparent, at least as far as the values at stake within it are concerned. The art world has varying degrees of resolution. Some institutions can make an artist appear larger, while others will shrink them or let them disappear into the noise. Over time, you begin to notice that individual exhibition opportunities are not just neutral places where you place your work. And sometimes you also discover that opportunism does not necessarily have to be something to be ashamed of. That is perhaps the strange paradox of an artistic career: you try to create something meant to be independent of the system, and at the same time, you spend your whole life learning how to exist within that system. And yet, through all of this, there is one more—perhaps the most important—factor: the human element. Behind all the institutions, galleries, names, and their varying degrees of resolution are specific people who decide whose trust to earn, who to approach, and with whom they want to collaborate. In our case, this is primarily Anna Pulkertová and Marek Jakúbek, whose approach represents for us precisely that rare combination of professionalism, trust, and personal interest. At such a moment, the initial question of where and in what light one presents oneself begins to change slightly. It is no longer just about the value a given place holds in the hierarchy of the art world, but also about the people you meet there and what you are able to offer one another.
unconductive trash
Rudi Koval and Michal Pěchouček, art duo
Improving employee mental well-being is one of the main goals companies emphasize when designing new offices. And according to research, the installation of art can be one of the elements that significantly contributes to this goal.
Martin Židek
Head of Architecture, CAPEXUS
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