Bety Krňanská
Bety Krňanská (*1992) is a Czech artist whose work combines painting, textile crafts, and technology.Her practice addresses the representation of women, bodily autonomy, and the shifting relationship between desire and digital culture. By combining t...
As I Remember, 140 × 70 cm, metal car hood, laser cutting, grinding, neon light, 2025
I have a crush on you, 164 × 230 cm, mixed media, painting, patchwork, lace, 2025
ME & U, 120 × 50 cm, metal door from a crashed car, aluminum hand casting, 2026
Fortuneteller, 170 × 196 cm, acrylic, iridescent pigments, patchwork, gloss varnish, 2026
FUTUREPAST, 160 × 200 cm, acrylics, iridescent pigments, patchwork, 2026
You Look Like You Love Me, 130 × 70 cm, plasma cutting, grinding, 2025
Exhausted, 300 × 130 cm, Mercedes exhaust pipe, grinding, spray paint, lace, resin, 2025
BELONGING, 160 × 200 cm, acrylic, patchwork, iridescent pigments on canvas, 2026
Testimonials
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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
At Veolia, we are newly combining our commitment to environmental and social responsibility with visual art. Through it, we communicate our key themes of nature conservation and ecological transformation to our colleagues and the public in a truly original way. At the same time, we are glad that as part of our ESG activities, we can support the contemporary art scene both morally and financially through Artist's Hero. A pleasant surprise is the finding that up to 80% of our employees feel that art creates a friendlier atmosphere in our offices.
Petra Gardiančík
Marketing Manager, Veolia Energie
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