In an art world that often moves at the velocity of spectacle—chasing fairs, markets, and moments—DSC Gallery has chosen a slower, more deliberate route. Founded in 2009 in Prague, the gallery began as a cartographer of the Czech contemporary scene, intent on drawing coherent lines through a fragmented landscape. What started as a local initiative has since evolved into a quietly ambitious endeavor to reframe how global and regional dialogues intersect.

One of the gallery’s greatest strengths lies in its exceptionally strong and dedicated team. This collective energy is not only a source of pride but also a key part of what sets DSC apart—both locally and internationally—allowing the gallery to maintain its integrity while expanding its reach.

Led by Nikola Nováková (Managing Partner of DSC Gallery, Art Sales, and PR & Communications), DSC’s curatorial strategy resists the typical export model. Rather than sending emerging Czech artists out into the world to prove their worth, DSC inverts the logic: it brings internationally established artists to Prague, creating first-time encounters that challenge and enrich the local context. From Berlin’s philosophically charged painters to the visceral tactility of Bosco Sodi and the conceptual rigor of Wim Delvoye, the gallery’s program is grounded in depth—not trend.

In this exclusive interview, Nikola Nováková speaks with Artmag about the gallery’s origins, its curatorial evolution, and why intimacy, intention, and narrative may be the most radical tools a gallery can wield today.

Q. How would you describe the cultural landscape at that time, and what gaps did you feel compelled to address?

A. When we founded DSC Gallery in 2009, the Czech contemporary art scene was vivid but fragmented. While there were talented artists and a few established institutions, there wasn’t a coherent platform that could both support Czech artists long-term and engage collectors in a more professional, advisory-based way. We saw a gap between curatorial ambition and commercial sustainability—and we aimed to bridge it. Our goal was to give structure to the local ecosystem, create a space for dialogue, and develop an art market with both vision and longevity.

Q. What drove the shift from local to international, and how has it changed your curatorial thinking?

A. The shift came naturally—out of curiosity and the desire to engage in deeper conversations across borders. We realized that if we wanted to grow intellectually, curatorially, and institutionally, we had to step outside our own cultural bubble. As a relatively unknown gallery abroad, we began building relationships with European curators and gallerists, who in turn connected us with artists we admired. This expansion reshaped our curatorial thinking: we became more confident in juxtaposing Czech and international voices, and more attentive to the way global narratives intersect with our local context.

Q. What does Berlin represent to DSC Gallery in terms of artistic vision or institutional affinity?

A.Berlin has always been more than a destination—it’s a conceptual anchor. It’s where contemporary art remains raw, layered, and philosophically charged. It’s close to Prague geographically, but artistically it offers a completely different rhythm and scale. Our first major international success came with Martin Eder’s exhibition in Prague. From there, we continued working with Berlin-based artists such as Jonas Burgert, Anselm Reyle, Denis Scholl, and Norbert Stefan. Berlin opened a gateway—not just to artists, but to a kind of thinking that deeply shaped us.

Q. How do you approach artist selection, and what connects this diverse group under the DSC umbrella?

A. Our approach is both intuitive and rigorous. We’re drawn to artists whose work resonates on multiple registers—emotionally, formally, and conceptually. Many of the names we’ve worked with, from Bosco Sodi to Wim Delvoye, have strong visual identities, but also a philosophical core that transcends trends. What unites them under the DSC umbrella is a certain depth and maturity; they are artists of the “middle generation,” with clear references and established positions, yet still dynamic and evolving. Our role is to introduce them to the Czech context—often for the first time.

Q. What made you want to bring Jorinde Voigt here now, and what should we look forward to in the show?

A. Jorinde Voigt has long been on our wish list. Her works are in dialogue with those of Magdalena Jetelová, a prominent Czech-born artist who emigrated to Germany and became an important voice in the European conceptual and sculptural tradition. While Voigt is often associated with drawing and musical abstraction, her presence in this exhibition serves as a contemporary counterpoint—or perhaps a gentle echo—to Jetelová’s monumental and politically charged legacy. Rather than giving Voigt a solo spotlight, we chose to frame the exhibition as a subtle curatorial pairing: an intergenerational, cross-cultural conversation about space, identity, and the poetic architecture of thought.

Q. What has informed your decision to stay outside the traditional fair booth model?

A. Rather than exporting young, untested Czech artists to international fairs and hoping for recognition, we’ve reversed the logic: we bring globally established artists to Prague. We introduce them to a new audience and, in doing so, create an entirely new dialogue. While we attend fairs regularly and guide our collectors through them, we’ve chosen not to exhibit—not out of reluctance, but out of strategy. Our strength lies in intimacy, narrative-building, and long-term relationships—all of which are difficult to sustain in a high-speed fair environment.

Q. How do you view the growing demands of the fair circuit, and do you feel it favors scale over substance?

A. Fairs have become both a promise and a paradox. They offer access, but they also compress time, attention, and nuance into transactional formats. For many galleries—especially younger ones—the pressure to “perform” at fairs creates unsustainable cycles. We believe the future lies in hybrid strategies: combining digital visibility, editorial depth, and physical exhibitions rooted in place. Scale is not inherently bad, but without substance, it becomes spectacle.

Q. Do you believe more galleries will begin to explore alternative engagement models like yours?

A. We already see it happening. Many galleries are rethinking their public programs, investing in local ecosystems, and deepening their advisory roles. Our model—which blends curatorial commitment with personal relationships—isn’t necessarily scalable, but it is sustainable and deeply fulfilling. Collectors today want more than transactions; they want context, trust, and care. In that sense, we believe our approach may offer a meaningful blueprint.

Q. How do you define success?

A. For us, success isn’t only about visibility or sales—though both matters. It’s about resonance. When we bring a globally recognized artist to Prague and see collectors, students, and critics engage deeply with the work—that’s success. When we place a piece in a thoughtful collection where it’s truly lived with—that’s success. Ultimately, we measure our impact not in volume, but in connection.

Q. What future directions are you exploring?

A. At the moment, we’re focused on deepening our strategy here in Prague—especially through the launch of DSC Secondary, a new program dedicated to the secondary market, opening this fall. It’s both a response to collector interest and a way to contextualize historical value within a contemporary setting. At the same time, we’re exploring more editorial collaborations, curated travel for clients, and perhaps one day a presence abroad. But we’re not in a hurry. For us, every expansion must feel organic—not opportunistic.