Andrea Mikyska graduated from the Supermedia Studio at the University of Art and Design in Prague and during her studies, she completed an internship at the Academy of Fine Arts in Prague and an internship at the Universität Berlin der Künste in Berlin. Her work draws on the immensity of data content on the Internet and her own experience of presence in the online space. The work of Andrea Mikyska often touches on those issues of the popular visual culture associated with their own identity and self-reflection in relation to fashion trends. Her videos and installations are playing with the young generation, the ubiquitous tension of the constant intersections between these "public" and the intimate spaces of individuals.

I look at the practice of art as an integral part that needs to be shared and communicated. My work is united by the symbolism and aesthetics of the 1990s in which I was born and began to introduce new media. As a video artist, I seek to answer questions about the ecology of human identity – questions such as: how do objects in our lives affect our daily ritual; how does change in a place influence our experience of it; and what do our relationships with other people, organisms, computer systems and current technology affect our lives. My work is mainly focused on digital narrativedialectic as the subtext of different life-processes: landscapes, environment, situations, organisms, programs, or places as an emergent fabric of events, simultaneously woven together amidst constant change. I believe at Anthropocene concept is the way in which it universalizes the roots of the eco-crisis by situating it among the anthropos-humanity in general, when it is, in fact, the result of a specific set of actions taken by a specific set of individuals, which is to say unbridled global capitalism and its agents and beneficiaries, especially as connected to the exploitation of the environment in all its forms in search of ever-increasing profit. Celebrating speed and technology has its risks. A century ago, the writers and artists of the Italian futurist movement fell in love with the machines of the industrial era and their apparent ability to invigorate society. Many futurists followed this fascination into war-mongering and fascism. While some futurist works are still admired, the movement’s reputation has never recovered. It is an important legacy for us that you are going to convert into a digitized form and leave data and heritage for the next generation. I believe in the Apocalypse. I do not play musical instruments, but I like to dance. My favorite color is blue in all shades. I strive to make my projects scalable and desirable.

In my work, I address the issue of private and public property, which is currently increasingly affected by digital works that are propagated on the Internet and the whole space is beginning to lack uniqueness and integrity. Recently, all this knowledge has led me to think, and I am now trying to protect the emerging works within the crypto community and crypto art with tokenization and a clear blockchain. At its core, blockchain is what is referred to as a “distributed database”. Where traditionally, databases of information are controlled by a central entity, blockchain is distributed across a number of locations. I believe that blockchain technology could help unify all of this data and break down a lot of friction in the industry. By making each artwork identifiably unique, blockchain can also impose scarcity on digital works that have often been seen as difficult to collect due to their reproducibility. I think Cointemporary is as much a conceptual experiment as it is a working gallery.

Recently I have been focusing on the contemporary beauty ideal(s) set for women across the world. What may be dismissed as a rather superficial topic actually touches on both social and technical issues that should not be underestimated. While we can see some positive changes, such as body positivity movements and seemingly more diverse representation in the media, our times create new unprecedented challenges to women concerning their looks. Women today are under no less, but possibly more pressure brought about by the popularity of plastic surgery, new beauty treatments, and ultimately phone apps using augmented reality in order to evaluate and rank one’s beauty. We see less and less appreciation for different looks as one globalized, western - centered beauty standard spreads across the globe. Diversity and difference are being portrayed as ‘other’, as something exotic, even oriental in Edward Said’s sense of the word.