Feburary 21 2025

Interview with Filip Kartousek:
The Nomadic Spirit
of HIDDEN Gallery

What started as a necessity has become a philosophy—continuously redefining the relationship between
art, space, and experience.

Yukako Manabe | Japanese series | HIDDEN Bořivojova
20.11.24 / 31.1.25

1. Latest Updates on HIDDEN:

Yuchen: It’s so nice to have this opportunity to conduct an international interview with you and learn more about HIDDEN. While preparing for this interview, I noticed several updates on HIDDEN’s website, including the new broadcast featuring Yukako Manabe and the announcement of a new project, Burn, baby, Burn. To start, could you share some insights about HIDDEN’s latest exhibition or give our readers a sneak peek into upcoming events? Are there any recent accomplishments or breakthroughs you’re particularly excited to share?

Fillip: Thank you for your question, Yuchen. HIDDEN is always evolving, striving to expand our activities to bring engaging content to both artists and the general public. Recently, we released Podcast #36, recorded with Yukako Manabe, a Japanese artist whose work has been exhibited in our gallery. Podcasts play a crucial role in our presentation as they allow us to introduce not only exhibiting artists but also curators and other key figures in the contemporary art world.

Podcasts also serve as a tool for potential collectors to establish an emotional connection with the artist. By listening to the conversation, they can gain insight into the artist’s thinking, reasoning, and perception of the world, which can be instrumental in deciding to purchase a piece. This way, art becomes more than just an aesthetic object—it transforms into a gateway into the artist’s world. The format enables us to build stronger relationships between artists and audiences and provide deeper context to the presented works.

For Czech artists, we typically record podcasts in Czech—for example, our recent one with painter Lucie Hošková. Soon, we’ll be recording in English with Ukrainian artist Liza Libenko. Other recent podcast guests include prominent Czech painter Josef Bolf and Jan H. Vitvar, editor-in-chief of the culture section at Respekt Magazine.

2. Nomadic Spirit and Locations:

Yuchen: While exploring HIDDEN’s website and past interviews, I came across the intriguing term “Nomadic.” From my understanding, HIDDEN’s nomadic approach initially stemmed from practical needs but also embodied a spirit of challenging traditional norms. With the opening of new locations, I’m curious: which spaces are considered permanent, and which remain nomadic? Looking ahead, do you envision HIDDEN continuing to embrace this nomadic identity? Has this spirit evolved into a new form as the gallery grows?

Fillip:When I started HIDDEN Gallery, the “nomadic” concept was more of a necessity than a choice. I didn’t have a permanent location, so I organized exhibitions in various spaces. I remember holding exhibitions in the Konvikt in Olomouc, where I installed a simple cube in its hallway as an exhibition space. I also held shows in my apartment in Prague’s Žižkov district, including the first exhibition by artist Anna Ruth, who soon will have a solo exhibition in New York. These were very spontaneous events, often with a performative character, held in places like a garden or the book storage archive in the Leichter House designed by architect Kotěra.

Over time, this nomadic spirit evolved. After securing a permanent space at HIDDEN Bořivojova, I began focusing on more continuous presentations. Yet, the gallery’s nomadic nature remains alive through projects I call HIDDEN Originals. These exhibitions still take place in unique and sometimes unexpected locations, such as the granary in Měšice, where I organized the exhibition Listen Patiently, inspired by the film Arrival by Denis Villeneuve. The film explores how communication with extraterrestrial beings through their unique language allows humans to perceive reality differently. Similarly, this exhibition presented artworks as a distinct language through which artists communicate with the audience. Each piece carried a specific meaning that viewers could decipher and interpret, offering a glimpse into the artists’ mental worlds. Just as in the film, it was about establishing contact and deeper understanding through the visual language of contemporary art.

Currently, I’m preparing another space dedicated solely to performative events near HIDDEN AVU & UMPRUM. I’m also planning collaborations with other galleries across the Czech Republic to host exhibitions under the HIDDEN Hosting brand. For example, at the decadent Hell Smoke BBQ venue, I’m preparing an exhibition of internationally renowned Czech artists, painter Jan Gemrot and typographer and graphic designer František Štorm. The goal is to bring their works closer to a wider audience, including those who don’t typically visit conventional galleries.

Hiroyuki Kimura | Japanese Series | HIDDEN Bořivojova
28.6. / 1. 9. 2024

3. International Collaboration and Cultural Exchange:

Yuchen: HIDDEN has been actively collaborating with artists from different cultural backgrounds, such as those from the Czech Republic, neighboring countries, and Japan. Do you feel that these efforts have successfully fostered cross-cultural artistic exchanges? For instance, presenting Czech cultural elements to international audiences or introducing Japanese art to viewers in Prague. How do you view the transformative impact of such collaborations? From the perspective of international cooperation, what are your long-term aspirations for HIDDEN? You’ve mentioned plans to establish cultural hubs in Berlin, New York, and other cities—what kind of artistic exchanges do you hope these new spaces will inspire?

Fillip: HIDDEN Gallery’s inclination toward international collaboration and cultural exchange is driven by the desire to create meaningful connections between diverse artistic approaches and audiences. For example, by presenting Japanese art in Prague, we not only introduce Czech audiences to new cultural perspectives but also provide Japanese artists with a platform to engage with the European context.

The transformative impact of these collaborations lies in breaking down barriers—cultural, geographical, and artistic—while fostering new ways of thinking about art and its role in society. Artists inspire one another, audiences explore unfamiliar expressions and ideas, and the gallery serves as a bridge connecting these elements.

Regarding long-term plans, the idea of creating cultural hubs in cities like Berlin or New York is about preserving the collaborative and creative atmosphere often associated with art schools, where artists interact daily, influence each other, and grow together. These hubs would extend that communal spirit to established artists, offering shared studio spaces, residency programs, and opportunities for growth through mutual interaction rather than isolation postgraduation.

In these centers, I envision regular public studio visits, collective exhibitions inspired by semester or diploma projects, and programs aimed at popularizing art. Residency programs would allow, for instance, Czech artists to spend time in New York or Berlin, enriching their practice and connecting them with other artistic communities.

The goal is to create sustainable, dynamic ecosystems of cultural exchange where artists are supported in producing quality work while contributing to the development of both local and global cultural scenes. This approach preserves the energy and inspiration of artistic collaboration and makes it accessible to a broader audience.

Tachovské náměstí, Prague

4. Location Dynamics, Audience Evolution, and Artistic Diversity:

Yuchen: With HIDDEN continuously opening and closing locations, how has this flexibility influenced your selection of artwork? Have you noticed any notable changes in your audience demographics or their engagement with the gallery? Additionally, how do artists from diverse cultural or regional backgrounds shape the way your audience perceives and interacts with the exhibited works?

Fillip: Flexibility is a fundamental aspect of HIDDEN Gallery’s operation and nomadic spirit. Opening and closing new spaces allows us to seize opportunities almost instantly. This approach influences the selection of artists and works, enabling spontaneous decisions based on current inspirations. For example, the HIDDEN Republika space was ideal for its adaptability—I could exhibit artists discovered at graduation showcases and organize an exhibition within two weeks. This was the case with Anna Krištofíková, whom I offered an exhibition immediately after seeing her work at the Academy of Fine Arts. It was a remarkable show that resonated even with passersby in the Prague metro space. During its deinstallation, people stopped to thank her for brightening their daily commutes.

As for the audience, opening various spaces allows us to reach a broader spectrum of viewers. Exhibitions at HIDDEN Bořivojova have a different dynamic from the more experimental projects like HIDDEN AVU & UMPRUM. Exhibiting artists from diverse cultural backgrounds, including Japanese painters like Hiroyuki Kimura, has shown how different approaches and techniques inspire not only viewers but also Czech artists.

This flexibility and collaboration with diverse artists not only enable us to present high-quality, innovative works but also create spaces where cultures, inspirations, and dialogues between artists and audiences converge. Ultimately, this shapes HIDDEN into a dynamic platform that evolves with the art world, the artists, and the audience. It ensures that the gallery remains relevant, inspiring, and a place of discovery—not just for new talents, but also for innovative ways of thinking and presenting contemporary art.

Tachovské náměstí, Prague

5. Balancing Roles as Gallerist and Artist

Yuchen: I noticed that you’re actively producing artwork while managing HIDDEN. Your dual roles as a gallerist and artist reflect a deep commitment to the art world. Additionally, your collaborations with other artists extend beyond exhibitions to include blog dialogues, HIDDEN Editions, and more. How do you balance these responsibilities? Have there been moments when these roles influenced each other in unexpected ways? Do you feel this dual identity has had a positive or negative impact on your creative process?

Fillip: Balancing the roles of photographer and gallery owner feels more natural to me than problematic. Currently, I’m dedicating most of my energy to building HIDDEN Gallery because I see greater meaning in creating a platform that not only helps artists showcase their work but also connects them effectively with audiences and collectors. Being a photographer myself allows me to better understand the needs and visions of the artists I collaborate with.

I primarily use my photographic background for the gallery's supportive activities, such as documenting studio visits, which often become part of the artists' promotion on our website or in the media. For instance, my photos from a studio visit with Anna Ruth were featured in an article in Vogue magazine, which was truly gratifying. Thanks to my understanding of the aesthetics and visual aspects of art, I can initially focus on the impression a piece makes on me and later delve into its context and concept.

As for HIDDEN Editions, they emerged as a way to provide artists with more than just a line on their CV. We started with reproductions, such as those with Anna Ruth, but gradually transitioned to original works at accessible prices because it made more sense to me. This project reflects my approach: building long-term relationships with artists and finding ways to support them not only through exhibitions but also by offering opportunities for sales.

Sometimes, the roles of photographer and gallery owner intersect in unexpected situations. For example, during studio visits, photography has allowed me to discover details or aspects of an artist’s work I might have otherwise overlooked, influencing how I later curated their work.

I don’t think this “dual identity” has been a disadvantage. On the contrary, it helps me remain flexible and creative, which is crucial for my work. The only downside might be the lack of time for my own photographic projects. However, at the moment, I find greater purpose in developing the gallery because I believe it benefits not just me but the community of artists I work with.

Tachovské náměstí, Prague

6. Contemporary Art Trends and HIDDEN’s Focus:

Yuchen: What are your thoughts on the current trends in contemporary art? Are there any directions you hope HIDDEN can lead or actively participate in? Recently, we wrapped up an interview with a gallery focused on digital art. In contrast, HIDDEN seems to emphasize more tangible mediums, such as drawing and painting. How do you view the rise of digital art, and do you see a place for it within HIDDEN’s future?

Fillip: When it comes to current art trends, I aim to monitor rather than follow them directly. HIDDEN Gallery focuses on timeless concepts and quality rather than what is currently in vogue. This doesn’t mean we ignore trends entirely, but I select artists whose work resonates with me personally and has the potential to captivate in the future, not just in the present context. For example, Jiří Petrbok, whose works we’ll exhibit in February, faced pressure to shift to “conceptual” art because “painting is boring.” Yet, he stands by his work, and that courage to remain true to oneself, regardless of public expectations, is something I deeply respect.

As for digital art, I don’t deliberately avoid it but haven’t actively pursued it either. Digital art undoubtedly has its place, but I often feel that some artists start with digital media without mastering fundamentals like drawing, painting, or spatial understanding. It’s like mathematics—you may not use it daily, but it teaches logical thinking. Similarly, in art, even if someone creates digital or conceptual works, I believe they should have a foundation in traditional techniques and media.

In the past, we organized exhibitions centered on photography, which could also be considered a form of digital art. However, at the moment, we’re focusing on painting and drawing because I believe these mediums still have much to offer, and I see painting making a comeback in popularity. Sculpture is another medium I’d like to explore more in the future.

Regarding conceptual art, I appreciate its value, but it must be executed well. Jan Mančuška, for example, created works with meaning and excellent execution. However, such examples are rare, and I haven’t seen many conceptual projects in the Czech Republic recently that truly moved me. Looking ahead, HIDDEN doesn’t exclude any medium. The primary goal is to support artists with a strong vision and quality approach to their work, whether through traditional or digital forms. Each medium has its time and place, but for now, HIDDEN remains committed to tangible media because they align with my vision for the gallery.


Filip Kartousek

7. Supporting Emerging Artists:

Yuchen: Thank you so much for accepting DART’s interview today. It's a pleasure learning more about HIDDEN and your vision. One last question before we wrap up—HIDDEN was founded with the vision of creating opportunities for emerging artists. How do you see the gallery’s role in supporting and nurturing these artists? What strategies do you think are most effective in helping them establish themselves in the art world and even enter international markets? Lastly, is there a message you’d like to share with the students and emerging artists reading this article?

Fillip: HIDDEN Gallery is open to all groups of artists, regardless of age or artistic focus. Our exhibition concept prioritizes the quality, innovation, and artistic contribution of the works presented. While I don’t intentionally favor young artists, many remarkable talents are emerging from Prague’s Academy of Fine Arts (AVU), whose originality and creative drive often rival those of established artists. I closely follow the work of students from AVU and UMPRUM, and it’s an exciting adventure to actively seek out new, compelling names among the current generation of young artists. It’s refreshing to enrich HIDDEN’s exhibition plan with lesser-known artists, but they must earn their place through the outstanding quality of their work.

Their reward is the opportunity to present solo exhibitions at HIDDEN, meet other artists, curators, and collectors, and gain valuable experience, new contacts, and friendships fostered within the gallery.

As mentioned earlier, young artists don’t receive special treatment at HIDDEN and must prove their artistic value through effort and skill. Even so, there are many student artists who genuinely deserve their exhibitions at HIDDEN. It’s a pleasure to provide them with a platform to showcase their work and introduce them to art historians, theorists, and the wider audience, integrating them into the contemporary art scene.

There’s no universal strategy or advice for achieving public recognition. Art is a dynamic, ever-changing “living organism” in countless forms, making it hard to apply general rules for success. However, I’d like to share this message with young artists: “You’ve chosen a challenging path—sometimes thrilling and painful, other times joyful and fascinating. Don’t be afraid to hold your course on turbulent seas, take risks, and experiment. Stay true to yourselves, don’t follow trends—create them! Don’t compromise. Don’t think about success—it will come. And thank you for what you do! You are the ones writing the next chapters of contemporary art.”

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