Vladimír Véla / Adam Štech / Lubomír Typlt / Martin Gerboc / Daniel Pitín / Jiří Petrbok
The butterfly effect expresses the sensitive dependence of the development of a system on initial conditions whose small changes can result in large variations over the long term.
This exhibition opens up the issues of the possibility of painting’s reflection of today’s questions, which carries within itself a variety of cultural impulses and traces from a various distant past; its beginnings cannot be retrospectively identified due to the amount of overlaying and speed of distribution of data.
Six painters from three generations react to this situation in their paintings. They seek to deconstruct or defragment disappearing unity as common certainty. Each of them, via various forms of painting articulation, generalizes and makes present the uncertainty from the unknown. Here we are witnesses to a more general transformation of whose regularities we are not sufficiently informed. How are we to grasp what might be the common feeling of the era, and what is in the second plan depicted as an aspect that connects all six ideological positions of the presented paintings?
The title “Butterfly Effect?” metaphorically refers to the principle of basis and result, without this principle being precisely established in time and space. The question mark in the title of the exhibition refers to the multiplication and mirroring of the questions themselves established by the authors in the basic layers of the exhibited paintings.
Relating to the world is becoming more complicated. All that we can do is to ask what the cause is, and what is the consequence of this condition? Is the principle of the model situation enough to understand this complex matter? Or rather, is it imagination itself – the joint tool of art and science – which is capable of new, more accurate designations, and which therefore needs to be once again brought to life?
Vladimír Véla (1980)
Processes in primary, live forms. Cyclic repetition of birth and death. The theme of the core and sign in simple compositions outside the chronology of history.
Adam Štech (1980)
Benefiting from art history “against the grain”, disturbing of chronology.
Collage of historical stylistic fragments. Paraphrase, updates, bringing to the present.
Martin Gerboc (1971)
Poetic and philosophical resonance (e.g., Baudelaire, Artaud, Foucault, Barthes). Disillusion of practice between the violence of power and sex. Flowers of Evil.
Lubomír Typlt (1975)
Metaphors of awakening. The time of childhood and adolescence. The game as an irreversible entry into experience.
Daniel Pitín (1977)
The break-up of continuous narrative. The world as a labyrinth. The metamorphosis of time and space in media crossing of images and information.
Jiří Petrbok (1962)
Possibility of a new synthesis. Disembodiment, reduction and spirituality. Recycling and quoting as the basis for a new expressive identity.