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Time has come for me to think after this long winter about what is it I want to achieve this season (a year for me begins in the late March). I’ve decided to investigate my roots and true desires in making art, hence I bring you a gesture of this thought, my first self-portrait.

Silvia Krupinska, Self portrait and my hand in the sand, 2013

Silvia Krupinska, Self portrait and my hand in the sand, 2013


I’m happy to announce a happy collaboration and beginning of an exciting venture. I’ve become a part of OZ LivePozitive as one of their “Autre Birds”. OZ LivePozitive is a non-profit organization established in August 2011 consisting of a bunch of creative and hard working people who are trying to make this world different. They are keen on supporting art & artists, culture and positive ways of life with their basecamp in High Tatras, Poprad (Slovakia), where they are meeting, working, protecting mountain´s wealth, however spread internationally. Please read more about it on their website, where you can find my profile too. More news about exhibitions, articles and events to come soon. Keep tuned. As ever, thanks for reading!

Your opinions count. Leave a comment or email me ( Cheers.


‘Perla’ at The Stone Space gallery in Leytonstone. Exhibition ‘artFORMS’ open till 6 january 2013. Private view 14 January. All welcome!

Perla by Silvia Krupinska, 2012 (2)

Botany Bay near Margate

Silvia Krupinska, Outdoor instalation at Botany Bay, England, 2012, Copyright S.Krupinska 2012



Hello dear friends. I took part in “One Day’s Walk”, The Stone Space exhibition. It had a great response from the locals and the theme was to involve the community and the artist from Leytonstone (East London). You might already know that I enjoy taking  “From the Bottom of the Sea” sculptures out , even on my travels. In the past I had one with me in a desert in Emirates, in Margate on the beach, or back in Slovakia… For this exhibition, I had taken one of my “From the Bottom of the Sea” sculpture out to Leytonstone’s Epping forest, and let it sit in a meadow. We tried many angles and ways, for the sculpture to be most comfortable. I chose one photograph of it, which was used to produce cards accompanying the show. Each artist had cards made. Those are for sale in the gallery for £1 each to support The Stone Space in their amazing first year running. If you would like one of my cards free, email me ( with your postal address and I’ll send it to you or visit the gallery. Hurry, I’ve have less than 30 left.

‘Soľ nad zlato’ in Eng. ‘Salt above Gold’, title of a Slovakian film fairy-tale, exploring preciousness of salt above all! I’ll be experimenting in my new works how the salt and gold ‘work’ together, in a form of a painting. Can’t wait!

Still from film - Salt above Gold, actress Libuše Šafránková, writen by_Bozena Nemcova, director_Martin Hollý, 1983

Silvia Krupinska, working title_ salt string 2012, 03


I’m happy to have seen an exhibition of some leading Slovak artists from 1960-2000. The works by them have shaped the happening of the Slovak Art Scene to this day, including myself. I’m talking about exhibition – Independent Scene. A Segment of Slovak Visual Art 1960-2000 in the Embassy of Slovak Republic in London. I’d introduced this show to you prior to the private view, in this post.  If you are interested in the Slovak Art and European Art in general, and this crucial creative period of 1960-1989, it’s a must see for you!

The exhibition is curated by Zuzana Bartošová, research worker at the Institute of Art History, Slovak Academy of Sciences. Henry Meyric Hughes, Honorary President of International Association of Art Critics (AICA) Paris, opened the event with this speech. The works presented in the exhibition come from the First Slovak Investment Group’s collection (Bratislava, Slovakia).

Here is an extract of the speech by Mr. Hughes. I’ve learnt so much by listening to it over and over again:

“What you see here in this space is the crème de la crème and very carefully chosen work by Zuzana Bartosova, a step ahead of the works perhaps in the Slovak National Gallery Collection.”

Jankovič piece, The Movable Hands are moving, waving in unison. That in a sense sets the scene to the way that artists have responded, artists who are outside the official system, right up to 1989. They maintained their own independence and contacts with artist in surrounding countries, and responded to ideas in the outside world. Most of those artists were almost working in isolation. But, almost all of these works here are kind of the key works of the individual artists concerned. In sense, there was a double divorce, if you were living in Bratislava. There was a divorce from centralized part, artistic patronage provided by Prague (which was a dominant partner in this federated republic) and of course there was a divorce from the west. The isolation in Bratislava really was the fertile element, artists were left to their own devices, maybe they were followed a bit by the security police, but on the whole they could do what they wanted, provided they didn’t put their heads up above the parapet. I think, this is the essential message you are getting from this exhibition. All those artists and their work up to 1989 have formed the basis of the Slovak Art.”

Participating artists:

Milan Adamčiak (*1946), Peter Bartoš (*1938), Juraj Bartusz (*1933), Mária Bartuszová (1936 – 1996), Pavol Binder (1935 – 2009), Milan Bočkay (*1946),Klára Bočkayová (*1948), Ivan Csudai (*1959), Ladislav Čarný (*1949), Marián Čunderlík (1926 – 1983), Milan Dobeš (*1929), Ľubomír Ďurček (*1948), Rudolf Fila (*1932), Stanislav Filko (*1937), Daniel Fischer (*1950), Vladimír Havrilla(*1943), Jozef Jankovič (*1937) Igor Kalný (1957 – 1987), Michal Kern (1938 – 1994), Alojz Klimo (1922 – 2000), Martin Knut (*1964), Július Koller (1939 – 2007), Vladimír Kordoš (*1945), Patrik Kovačovský (*1970), Juraj Meliš(*1942), Igor Peter Meluzin (*1947), Marián Meško (*1945), Anastázia Miertušová (1927 – 2002), Igor Minárik (*1948), Alex Mlynárčik (*1934), Marián Mudroch (*1945), Ilona Németh (*1963), Milan Paštéka (1931 – 1998), Karol Pichler (*1957), Vladimír Popovič (*1939), Rudolf Sikora (*1946), Ivan Štěpán (1937 – 1986)Laco Teren (*1960), Dezider Tóth (*1947), Rudolf Uher (1913 – 1987), Miloš Urbásek (1932 – 1988), Jana Želibská (*1941)

You can see my video invitation and a small tour around the space of The Embassy Of Slovak Republic, where the show is held:

And finally a wide selection of photos from the exhibition. Thanks for reading my post. Contact me, if you have any questions.

7 March – 10 April 2012 

Slovak Embassy, 25 Kensington Palace Gardens, London W8 4QY

Opening hours from 9 am to 4 pm

For security reasons, please contact the Embassy before your visit.

Tel: 02073136470, e-mail:

"Vertical and Horizontal Relief" by Maria Bartuszova from 1985.

This heroic exhibition of Slovak Art between years 1960-2000, that I hadn’t even dreamt of seeing in London, is coming! I can’t tell you how excited I’m to be able to see this important show. I’ll be there this Wednesday, 7th March 2012 from 6-8pm and I’ll be reviewing and documenting the show. My long admired Mária Bartuszová will feature “Vertical and Horizontal Relief” from 1985. Show will display works by the Slovak Art Scene stars such as Vladimír Popovič, Jozef Jankovic, Frieze Magazine loved Julius Koller…

The exhibition presents a segment of the work of independent personalities from the 1960s and younger artists participating in the activities of the unofficial art scene in the 1970s and 1980s. The collection is supplemented with examples of the work of next generation artists, which have not been affected by the restricting ideology.

The exhibition is curated by Zuzana Bartošová, research worker at the Institute of Art History, Slovak Academy of Sciences and Mr. Henry Meyric Hughes, Honorary President of International Association of Art Critics (AICA) Paris, will open the event. The works presented in the exhibition come from the First Slovak Investment Group’s collection (Bratislava, Slovakia).

Slovak fine art in the second half of the 20th century represents a phenomenon with a quality comparable to the European standard. Since the 1960s it has been characterised by the plurality of styles and opinions. After artists, both young and old, abandoned socialist realism, contemporary artistic tendencies emerged onto the art scene: art informel, new realism, pop-art, new figuration, constructivism and kinetic art, lettrism, conceptual art, action art, object and installation. The promising development of pluralist Slovak fine art, which had started to be accepted by the international art scene, was interrupted by the so-called consolidation of society after the seizure of Czechoslovakia by the armies of the Warsaw Pact (21 August 1968). Both the civil and artistic freedoms of the period of “socialism with a human face” became a thing of the past and were replaced with ideology and the revival of socialist realism. The neo-avant-garde tendencies have survived in the works of independent personalities of the unofficial art scene, which was compatible with the art scene in the Euro-American context. It was due to the activities carried out by the unofficial art scene that after the Velvet Revolution (1989), one could state that Slovak fine art in the second half of the 20th century represents a sphere that never ceased to be a part of international visual discourse.

Julius Koller, born 1939-Czechoslovakia, 1968

Participating artists:

Milan Adamčiak (*1946), Peter Bartoš (*1938), Juraj Bartusz (*1933), Mária Bartuszová (1936 – 1996), Pavol Binder (1935 – 2009), Milan Bočkay (*1946), Klára Bočkayová (*1948), Ivan Csudai (*1959), Ladislav Čarný (*1949), Marián Čunderlík (1926 – 1983), Milan Dobeš (*1929), Ľubomír Ďurček (*1948), Rudolf Fila (*1932), Stanislav Filko (*1937), Daniel Fischer (*1950), Vladimír Havrilla (*1943), Jozef Jankovič (*1937) Igor Kalný (1957 – 1987), Michal Kern (1938 – 1994), Alojz Klimo (1922 – 2000), Martin Knut (*1964), Július Koller (1939 – 2007), Vladimír Kordoš (*1945), Patrik Kovačovský (*1970), Juraj Meliš (*1942), Igor Peter Meluzin (*1947), Marián Meško (*1945), Anastázia Miertušová (1927 – 2002), Igor Minárik (*1948), Alex Mlynárčik (*1934), Marián Mudroch (*1945), Ilona Németh (*1963), Milan Paštéka (1931 – 1998), Karol Pichler (*1957), Vladimír Popovič (*1939), Rudolf Sikora (*1946), Ivan Štěpán (1937 – 1986), Laco Teren (*1960), Dezider Tóth (*1947), Rudolf Uher (1913 – 1987), Miloš Urbásek (1932 – 1988), Jana Želibská (*1941)

Jozef Jankovic,born 1937-Movable Hands, 1970

I’ll be posting more about this exhibition. I’m planning to do some interviews and documenting as much as possible. I really recognize the importance of this event, just by researching and linking the artists in the show, I’ve learned so much. Big lesson of the Independent Scene. A Segment of Slovak Visual Art 1960-2000 begins tomorrow. See you there! Silvia

Join the Facebook event here.

7 March – 10 April 2012 

PV 7 March 6-8pm

Slovak Embassy, 25 Kensington Palace Gardens, London W8 4QY

Opening hours from 9 am to 4 pm

For security reasons, please contact the Embassy before your visit.

Tel: 02073136470, e-mail:

(source: Embassy of the Slovak Republic, London)

My “From the Bottom of the Sea” sculpture on a beach in Abu Dhabi today. It shared a glass dome with some fish as a sculptural installation. Its sister sculpture visited and stayed in Azerbaijan, Baku. What is their next destination? Happy New Year 2012 and all the best from United Arab Emirates! Silvia

I was waiting for the last two weeks to find out, which art work the curators chose for the London Calling exhibition in OCCCA museum in Santa Ana coming this Christmas time. The day came, and I’m delighted to send my New Golden Seed off. This wall sculpture is made from mixed materials including artificial and real human hair, cement, wood, glue and paint. It is in line with the Hair Series – Hair and Dust Painting was the first of the series, followed by adventurous New Golden Seed and The Red Seed.

Silvia Krupinska_New Golden Seed_2010_mixed media_120 cm

In order to ship the works and possibly get our selves over to LA, we (selected Debut artists) decided to announce a set of  fundraising events not only online but also in Debut Contemporary, Notting Hill. For a limited time only, offer can be withdrawn at any time, we are going to offer art for very reduced prices. I’m personally donating my newest study, Organic Golf Balls, reduced to extremely good price of only £100! After the event, the price will go back to £300. If you were thinking of buying a piece of work already, this might be the prefect moment to start your collection of my work. Please click here to buy and see the other works. I’m looking forward to your feedback and I’ll write to you soon.  Best, Silvia.

Link to the fundraising site.


Silvia Krupinska, Organic Golf Balls, 2011, 26cm, golf balls, plaster, wood, recycled paper pulp

Silvia Krupinska, Organic Golf Balls, detail

My sculpture on the plinth, “Cube and Blob” 2009, guarded by dog sculptures by Agnetha Sjogren, during November Private View at Debut Contemporary.



Grape Extraction Sculpture and plasticine balls, installation idea for Organicities.

As Organicities approaches in 2 weeks I’m considering how to refresh the installation of my sculptures, especially those that are longing their “natural” environment. To be more specific, I’m talking about “From the Bottom of the Sea Sculptures“. To  make it feel more comfortable, and “like at home” I’m having a go at testing it’s unfinished cousin, plaster ball, immersed in water. There might be even special guests joining, it would be VIF to be precise. To find out more about them, pop in to Debut Contemporary on Saturday15th October 12-5. If you would like to read the press release click here, or for e-flyer click here.

Experiments with the installation of From the Bottom of the Sea Sculpture.

Testing of an unfinished plaster ball in water, is making me think that VIF guests will be coming in! You'll be sure to find out their names on 15.10.11, in Debut Contemporary.

My new sculpting material, 120 golf balls. And the number is you have any spare?

Silvia Krupinska, Study of Bee-Flies I, 2011

What a day it was on Wednesday! I managed to get in to Angela Marmont Centre for Bio Diversity, Natural History Museum, London, which is specialized research centre open to public and professionals, to search, study, identify and talk to experts about anything you can think of from Natural History. Not always booking  recommended. I was in need of seeing  Bombylius Major. I love the name, sounds like a soldier fly, but in fact it is a Bee-Fly. The name might be misleading. It is a fly, that pretends to be a bee! It’s behaviour is fascinating. It lays eggs in bee and wasp nests, it pollinates flowers with it’s elongated nose and it hates cold. It can wrap up it’s wings around to keep warm. So much more to tell, but instead, I present to you, my own photos of the specimen. Cheers and remember, not all that looks like a bee, is a bee! Don’t  kill it.

Bombylius Major - Bee Fly

Angela Marmont Centre for Bio Diversity, Natural History Museum, London

Silvia Krupinska, Studio Instalation with new paintings, 6.9.11

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