A conscious romantic. This is the way we can describe a young artist studying painting in the studio of Jiří Černický. The term „painting“ is Dvořák´s basic line from which he departs.
However, the keystone of his work is his persistent search for truth, often showing contrasts between contemptibility and dignity, or exaggerated dignity. Filip Dvořák has a strong feeling for vanity, /not only/ artistic crisis, he misses a personal experience in art. For these reasons he feels a need to return to artists of the avant-garde whose work he comments on in his own work. In course of time this need gradually matures in the need of minor criticism. Dvořák develops the values of a painting through classical art media and constantly refers deeper into the past. Within the context of contemporary art, this may give the impression of a conscious calculus or trend, for a safe position of an artist. In his video-performance CDF21122012 the artist identifies himself with the romantic painter Caspar David Friedrich, but it immediately becomes clear that he denies, negates all ideals by the absurdity of the entire situation, the inability to paint in a frozen landscape and the title of the painting containing the date of the alleged end of the world – 21. 12. 2012. The connection of painting and performance often leads to installations in which Dvořák makes use of elements known from theatre. Light, collage, assamblage, sets and found objects endow his work with a heavy and sometimes even pathetic atmosphere of what is just going on, however it is often traversed by a moment of a charm which was revealed too soon. But at one point a theatre performance must end. It was just a play. Filip Dvořák played the part of an idealist and a romantic and is again returning to every-day problems, when theatricality, pathetic features, romanticism and feelings become cliché. For what reason are these terms defined under the term cliché? Who defined it? Through his referrences to romanicism Dvořák challenges us to re-evaluate it. That is why transparency of such a „performance“ in which the painting of the moon installed in the space makes the viewer become aware of the meaning „behind the scene“ and the need to go deeper under the surface.

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