Biography
Born in Prague, Czech Republic | Lives and works in Birmingham, UK
Tereza Bušková is a critically acclaimed multimedia artist whose practice spans film, printmaking, performance, and large-scale public art. Her work explores the enduring power of European folklore, ancient mythologies, and community rituals, reinterpreting them to address womanhood, isolation, and migration.
After graduating with an MA from the Royal College of Art in London (2007), Bušková initially gained recognition for her highly stylized, theatrical films—such as Spring Equinox and Forgotten Marriage—which resurrected traditional Slavic and Bohemian customs.
Over the past decade, her practice has evolved from gallery-bound video art into deep, socially engaged public projects. She frequently collaborates with marginalized groups, refugees, and local communities to stage participatory performances.
Notably, her 2016 public artwork Clipping the Church brought together hundreds of Birmingham residents to revive a forgotten English tradition, when cohesion appeared to be stretched to its limits during the brexit referendum.
Her recent major projects, including Hidden Mothers and the international exhibition Mothers without Hands (2026), focus heavily on the resilience of womanhood, the empowerment of migrant mothers, and raising awareness around violence against women and girls.
Bušková’s work has been exhibited and screened internationally at prestigious institutions, including the Whitechapel Gallery (London), the Zabludowicz Collection (London), Ikon Gallery (Birmingham), The New Art Gallery Walsall, and the Museum of Contemporary Art of Lyon. Her work is held in major private and public collections, including the David Roberts Art Foundation (DRAF).
Photograph by Blandine Soulage
Tereza Bušková is a critically acclaimed multimedia artist whose practice spans film, printmaking, performance, and large-scale public art. Her work explores the enduring power of European folklore, ancient mythologies, and community rituals, reinterpreting them to address womanhood, isolation, and migration.
After graduating with an MA from the Royal College of Art in London (2007), Bušková initially gained recognition for her highly stylized, theatrical films—such as Spring Equinox and Forgotten Marriage—which resurrected traditional Slavic and Bohemian customs.
Over the past decade, her practice has evolved from gallery-bound video art into deep, socially engaged public projects. She frequently collaborates with marginalized groups, refugees, and local communities to stage participatory performances.
Notably, her 2016 public artwork Clipping the Church brought together hundreds of Birmingham residents to revive a forgotten English tradition, when cohesion appeared to be stretched to its limits during the brexit referendum.
Her recent major projects, including Hidden Mothers and the international exhibition Mothers without Hands (2026), focus heavily on the resilience of womanhood, the empowerment of migrant mothers, and raising awareness around violence against women and girls.
Bušková’s work has been exhibited and screened internationally at prestigious institutions, including the Whitechapel Gallery (London), the Zabludowicz Collection (London), Ikon Gallery (Birmingham), The New Art Gallery Walsall, and the Museum of Contemporary Art of Lyon. Her work is held in major private and public collections, including the David Roberts Art Foundation (DRAF).
Photograph by Blandine Soulage