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 nota