Colorfully deforming reality

The Rudolfinum's ongoing exhibition "Butterfly Effect?: The Image as a Multidirectional Deconstruction of the Whole" presents the current work of five Czechs and one Slovak who, through the traditional media of oil and acrylic on canvas, manage to keep classical painting current and even raise its aesthetic value.

"The selection of the artists for this exhibition was not random," Rudolfinum Director Petr Nedoma said. "There are certain connecting points. These painters cross borders and point to what contemporary painting can give us."

The artists whose work is on display - Ji?í Petrbok, Martin Gerboc, Lubomír Typlt, Daniel Pitín, Vladimír Véla and Adam ?tech - have all exhibited in a number of solo and group exhibitions.

"We still live with the feeling of insecurity," Vaňous says. "The fear of what is happening around us is also a main connecting topic at this exhibition. We are not able to identify the causes; we are part of the theory of chaos. The picture is a view of the complex, but the complex is falling into pieces."

Visitors to the Rudolfinum can see six different ways of presenting and deforming reality. For example, Adam ?tech, one of two artists in the exhibition born in 1980, starts with a digital collage compound in a computer from generally known classical paintings and some diverse objects, abstract or details from films.Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data. Then he paints it in oil or mixed media. The results are absurd combinations and incoherent creatures.

Ji?í Petrbok, born in 1962 and the exhibition's senior artist, also uses this idea of creating a new reality by putting different objects together in works painted especially for this exhibition. He set up a new imaginary interior filled with strongly colored sculptures compiled from details from works by artists ranging from the medieval painter Paolo Ucello to the American prankster Jeff Koons to Petrbok's Czech contemporary Kri?tof Kintera. "Some pictures may seem very tragic with the skulls and dragons," Petrbok says. "But I mean it to be more comical. In fact, it is just fun."

The opposite of what can be called fun are the motives for Martin Gerboc's paintings. He reacts to the anachronisms established in our society and to the increasing pseudo-intellectual ballasts by addressing very provocative and open subjects in his art. Gerboc, born 1971, paints pictures full of political and sexual violence,We've had a lot of people asking where we had our make your own bobblehead made. misused religious symbols, criminals, pornography, etc. It doesn't leave the viewer calm; it forces us to think about the content.

In the same room, on the opposite wall,Where you can create a custom lanyard from our wide selection of styles and materials. hang the pictures of Lubomír Typlt, born in 1975. These works show a small baby and little girls,Ein innovativer und moderner Werkzeugbau Formenbau. but they are far from being dispassionate. "I use a contrast of complementary colors,You must not use the laser cutter without being trained." Typlt says. "My aim is to create very aggressive paintings that would drag the viewer inside. It is the same reason for the multiplication of the object. Twelve variations of crying babies' heads should causes some tension."

The next artist in the exhibition is Daniel Pitín, born in 1977 and presenting imaginary interiors here. He specializes in creating nonexistent architectural constructions, reminding the visitor of a theater stage background or even a highly immaterial dream. Pitín plays in a very original way with illusion and reality.

Vladimír Véla, the other artist born in 1980, who opens the exhibition in the first room, works with a big surface covered with color. He remakes chronically known symbols to create a clear picture, open for the viewer.

"Six author-based, conceptually different approaches to an image open up the fundamental question of what the current possibilities of painterly reflection are in today's day and age in the context of the space in which we live - a period that carries within itself a variety of cultural impulses, traces and layers whose origin cannot be easily identified," says Vaňous, the curator. "A period for which the disappearing act of any sort of unity, subliminally perceived as a common security is also symptomatic."

"The Butterfly Effect?" is the second of three consecutive and connected exhibitions at Rudolfinum. The first one was "Beyond Reality. British Painting Today." "The Butterfly Effect?" presents the Czech scene. Next and last will come "Nightfall: New Tendencies in Figurative Painting," which opens March 29 and will present the works of more than 20 artists from nine countries and focus on topics such as social crisis and uncertainty, loneliness, confusion and isolation and the tension between nature and civilization.

Phil Romano is known for creating concepts such as Macaroni Grill, Fuddruckers and eatZi’s Market & Bakery. But recently, he has been creating cutting-edge masterpieces. “I like to create restaurants,” he explained, “so, when I’m not creating restaurants, I’ve got to create something. So, I got a paintbrush and I started painting on canvases.”

Romano and artist J.D. Miller opened the Samuel Lynne Galleries in 2008. The art that is on display is a new movement that Miller created, called Reflectionism. “As Reflectionists,” Miller said, “we have taken it to the 21st Century and we have captured the entire three-dimensional envelope of life. So, not just the light, but sound, taste, touch — the spirit that you’re surrounded by — and translating that into art.”