Instagram Story Viewer

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

The new issue of Numéro art celebrates on its cover Stanislava Kovalcikova @queenstagrame, laureate of the Reiffers 2026 Prize. The artist has been photographed by @katjarahlwes at @reiffers_initiatives. Check out our new issue out now!

Represented by @emalinofficial and @antennaspace and recently exhibited at the @kunstvereinfreiburg and currently on view at @reiffers_initiatives, Stanislava Kovalcikova unfolds theatrical worlds where mystery, sensuality and tension collide. Through painting and sculpture, the artist plays with light, mirrors, textiles and the very limits of perception, blending modernist references with traces of contemporary decadence.

Exploring confrontation, fear and psychosexual impulses, Stanislava Kovalcikova strips painting down to its most visceral dimension, where the weight of history meets the fragility of the present moment.

1 : Numéro art 18 cover by @katjarahlwes . Grooming by @celineexbrayat at @callmyagent.fr
3 & 5 : Exhibition views at Reiffers Initiatives (@philippegarciaphotography)
4, 6 & 7 : Exhibition views at Kunstverein Freiburg (Marc Doradzillo)

INTERVIEW AVEC STANISLAVA KOVALCIKOVA — LAURÉATE DU PRIX REIFFERS INITIATIVES 2026 🎨

Lauréate du Prix Reiffers Initiatives 2026, Stanislava Kovalcikova s’impose comme une voix singulière de la peinture contemporaine.

Née en 1988 en Slovaquie, elle vit et travaille entre Paris et Düsseldorf. Formée à la Kunstakademie Düsseldorf, elle développe une peinture solennelle et sensuelle, marquée par une iconographie forte.

Ses œuvres déploient des environnements théâtraux, jouant avec la lumière, les miroirs et les limites du regard. Entre fascination et trouble, elles explorent confrontation, peur et pulsions psychosexuelles.

✨ Découvrez son travail à l’exposition du Prix Reiffers Initiatives 2026

📍 30 rue des Acacias, Paris 17
🗓 17 avril — 6 juin 2026
🕐 Mercredi–samedi, 13h–19h
Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

📸 Jonas Unger

—
INTERVIEW WITH STANISLAVA KOVALCIKOVA — LAUREATE OF THE REIFFERS ART PRIZE 2026 🎨

Laureate of the Reiffers Art Prize 2026, Stanislava Kovalcikova is a distinctive voice in contemporary painting.

Born in 1988 in Slovakia, she lives and works between Paris and Düsseldorf. Trained at Kunstakademie Düsseldorf, she develops a solemn and sensual painting marked by a strong iconography.

Her works unfold as theatrical environments, playing with light, mirrors, and the limits of perception. Between fascination and unease, they explore confrontation, fear, and psychosexual impulses.

✨ Discover her work at the exhibition

📍 Paris 17
🗓 April 17 — June 6, 2026
🕐 Wed–Sat, 1–7 pm
Free admission

📸 Jonas Unger

With the support of @mazarinegroup�@lamodeenimages @arter @numeroart

#stanislavakovalcikova #ReiffersArtPrize #mazarinegroup

soziale plasick- responsibility is a heavy cloak until you’ve worn it long enough for it to fit your shoulders.

STANISLAVA KOVALCIKOVA, LAURÉATE REIFFERS ART PRIZE 2026
KHALED JARADA, MENTION SPÉCIALE
Félicitations à Stanislava Kovalcikova @queenstagrame, lauréate du Reiffers Art Prize 2026 ! L’artiste vient d’être récompensés par @paulemmanuelreiffers, fondateur de Reiffers initiatives, @thibaut.wychowanok, directeur artistique ainsi que par @bernardblistene, commissaire de l’exposition Trafiquer l’inconnu, que vous pouvez désormais découvrir jusqu’au 6 juin prochain.

Avec les oeuvres de :
Khaled Jarada @khaled.jarada
Louis le Kim @louislekim
Stanislava Kovalcikova @queenstagrame
Arthur Marie @arthurmarieee
Eva Helene Pade @evahpade
Ibrahim Meïté Sikely @framboiselasalade
Minh Lan Tran @minhlan.tran
Manon Wertenbroek @manonwertenbroek

À découvrir du 17 avril au 6 juin 2026
Du mercredi au samedi, de 13h à 19h
📍 30 rue des Acacias, Paris 17💫 Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

#ReiffersArtPrize
#MazarineGroup

STANISLAVA KOVALCIKOVA, LAURÉATE REIFFERS ART PRIZE 2026
KHALED JARADA, MENTION SPÉCIALE
Félicitations à Stanislava Kovalcikova @queenstagrame, lauréate du Reiffers Art Prize 2026 ! L’artiste vient d’être récompensés par @paulemmanuelreiffers, fondateur de Reiffers initiatives, @thibaut.wychowanok, directeur artistique ainsi que par @bernardblistene, commissaire de l’exposition Trafiquer l’inconnu, que vous pouvez désormais découvrir jusqu’au 6 juin prochain.

Avec les oeuvres de :
Khaled Jarada @khaled.jarada
Louis le Kim @louislekim
Stanislava Kovalcikova @queenstagrame
Arthur Marie @arthurmarieee
Eva Helene Pade @evahpade
Ibrahim Meïté Sikely @framboiselasalade
Minh Lan Tran @minhlan.tran
Manon Wertenbroek @manonwertenbroek

À découvrir du 17 avril au 6 juin 2026
Du mercredi au samedi, de 13h à 19h
📍 30 rue des Acacias, Paris 17💫 Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

#ReiffersArtPrize
#MazarineGroup

STANISLAVA KOVALCIKOVA, LAURÉATE REIFFERS ART PRIZE 2026
KHALED JARADA, MENTION SPÉCIALE
Félicitations à Stanislava Kovalcikova @queenstagrame, lauréate du Reiffers Art Prize 2026 ! L’artiste vient d’être récompensés par @paulemmanuelreiffers, fondateur de Reiffers initiatives, @thibaut.wychowanok, directeur artistique ainsi que par @bernardblistene, commissaire de l’exposition Trafiquer l’inconnu, que vous pouvez désormais découvrir jusqu’au 6 juin prochain.

Avec les oeuvres de :
Khaled Jarada @khaled.jarada
Louis le Kim @louislekim
Stanislava Kovalcikova @queenstagrame
Arthur Marie @arthurmarieee
Eva Helene Pade @evahpade
Ibrahim Meïté Sikely @framboiselasalade
Minh Lan Tran @minhlan.tran
Manon Wertenbroek @manonwertenbroek

À découvrir du 17 avril au 6 juin 2026
Du mercredi au samedi, de 13h à 19h
📍 30 rue des Acacias, Paris 17💫 Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

#ReiffersArtPrize
#MazarineGroup

STANISLAVA KOVALCIKOVA, LAURÉATE REIFFERS ART PRIZE 2026
KHALED JARADA, MENTION SPÉCIALE
Félicitations à Stanislava Kovalcikova @queenstagrame, lauréate du Reiffers Art Prize 2026 ! L’artiste vient d’être récompensés par @paulemmanuelreiffers, fondateur de Reiffers initiatives, @thibaut.wychowanok, directeur artistique ainsi que par @bernardblistene, commissaire de l’exposition Trafiquer l’inconnu, que vous pouvez désormais découvrir jusqu’au 6 juin prochain.

Avec les oeuvres de :
Khaled Jarada @khaled.jarada
Louis le Kim @louislekim
Stanislava Kovalcikova @queenstagrame
Arthur Marie @arthurmarieee
Eva Helene Pade @evahpade
Ibrahim Meïté Sikely @framboiselasalade
Minh Lan Tran @minhlan.tran
Manon Wertenbroek @manonwertenbroek

À découvrir du 17 avril au 6 juin 2026
Du mercredi au samedi, de 13h à 19h
📍 30 rue des Acacias, Paris 17💫 Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

#ReiffersArtPrize
#MazarineGroup

STANISLAVA KOVALCIKOVA, LAURÉATE REIFFERS ART PRIZE 2026
KHALED JARADA, MENTION SPÉCIALE
Félicitations à Stanislava Kovalcikova @queenstagrame, lauréate du Reiffers Art Prize 2026 ! L’artiste vient d’être récompensés par @paulemmanuelreiffers, fondateur de Reiffers initiatives, @thibaut.wychowanok, directeur artistique ainsi que par @bernardblistene, commissaire de l’exposition Trafiquer l’inconnu, que vous pouvez désormais découvrir jusqu’au 6 juin prochain.

Avec les oeuvres de :
Khaled Jarada @khaled.jarada
Louis le Kim @louislekim
Stanislava Kovalcikova @queenstagrame
Arthur Marie @arthurmarieee
Eva Helene Pade @evahpade
Ibrahim Meïté Sikely @framboiselasalade
Minh Lan Tran @minhlan.tran
Manon Wertenbroek @manonwertenbroek

À découvrir du 17 avril au 6 juin 2026
Du mercredi au samedi, de 13h à 19h
📍 30 rue des Acacias, Paris 17💫 Entrée libre

Avec le soutien de @mazarinegroup
@lamodeenimages @arter @numeroart

#ReiffersArtPrize
#MazarineGroup

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

few shows make me cry but sometimes…Despite all my rage, I‘m still a rat in a cage 🪤 Mire lee for @antennaspace

Youre gonna sit with it without trying to move through it faster than it wanted to move.

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

Join us tonight from 7pm for my show opening 🍇 at Freiburger Kunstverein.
I dedicate this exhibition to my grandfather Jozef Kováč, born in Austro-Hungarian monarchy and my father Stanislav Kovalčík born in Czechoslovakia. Both witnessed incredible luck: my grandfather survived an escape from forced labor in Germany, walking 950km with one boot in a winter of war and my dad, from a depleted silver mining village won a grant to study marine shipbuilding 2000km away where he met my mother, from 9000km further. Considerning Czechoslovakia did not have any access to the sea :)⚓️
To them, life inevitably was and is about faith yet acceptance of what i call the migrant’s reality. Which is accepting the ruins and beating the odds against the architecture of decay and building a new life without a pristine background. Both my father and grandfather taught me to never underestimate ruins, as these have outlasted many conflicts.
Tonite, my clocks are hanging and I wont forget ink on metal never dries🙈 and the dials rust became my constant shadow of four years. Like Caput Mortum, the show’s dominant colour, was once made of mummies, rust is found in old machines. Rust is a slow burning fire, and it’s more powerful than war that demands these machines.
Thought they say war feeds people better, I trust in rust. And to those who still don’t know the world is on fire, i hope you feel one day how our privilege is numbing us from this reality. Bring me your poor, your huddled masses yearning to breathe free," the promise echoes,but my reality is a system of denouncing, raids, and forced labor and systematic, calculated veiling of crimes against humanity.
May redemption be found in endurance of an unfair world? Aging through the ruins, accepting the grit of the urban hustle and the fatigue of work as the proof that we are human?
According to sirens the world is meant to survive in fragments. Thanks Henri, Johanna, Angelina, Leopold and Simon for your commitment and support of the work and vision. Marc, Martin, Ari, Vilmer, Hao Hao, Daniel and all other helpers involved 💌 thank you for bringing this to life. X

It start bad, nerves in my teeth
Ends worse, now it’s on me
Art so close I can feel it breathe
But baby — I’m closer than it’ll ever be 🫧🫧🫧🪈👩‍🚀

Motherhood, pastel on sanding paper, 2025

Painted textiles, altered garments. They exist because time was stolen back from obligations, because a studio was cleared, because life did not stop and so the work had to continue inside it. 🥊 🪡🧶

Painted textiles, altered garments. They exist because time was stolen back from obligations, because a studio was cleared, because life did not stop and so the work had to continue inside it. 🥊 🪡🧶

The only story i can tell is the story of survival
or maybe of resistance
…who knows…
thats the only thing im gonna tell you
🕧🕝🕟🕠🕢🕤
RUBIGO opens on 20th February 2026 @kunstvereinfreiburg

Michael Buthe-
Ami de la volupte
Conceptual reality of thought forms
Immediate reality of life