Questioning the integrity of historical narratives and its loose recombinations are typical tools behind Filip’s practice. Medieval strongholds, heraldic symbols, and reminiscences to chef-d’oeuvres of the art historical canon are forming a backbone of a non-nostalgic search for an epic legacy of the past manifested in times when ruins of the grand narratives remain covered under an impermeable veil of the post-truth phenomenon. Black Lantern is thus not only an oxymoron relating to an impossibility of translucence, or a direct allusion to the established mythology, but rather an open subjective evocation of feelings naturally embedded in connotations of those two words. An authenticity of given references is not relevant anymore, maybe only in the level of emotions. No matter if they resonate for you on a scale of precoded cultural consciousness or learning experience, no matter if you find your source in realistically looking stone walls actually made from styrofoam or generated by an algorithm. References are becoming independent on their prefigurations, forming not only adapted but a genuinely new reality. It doesn’t make much difference if something was conceived thousands of years ago, in the year 1940 or day before yesterday, important is your personal sensation.

Jen Kratochvil

Filip Dvořák (b. 1990) graduated from the Academy of Arts, Architecture and Design in Prague. He exhibited at Spinnerei Leipzig, Essl Museum in Vienna, Center for Contemporary Art FUTURA in Prague, he received Prize of Art Critique for Young Painting 2018 and ESSL Art Award CEE 2015 among others.

Filip Dvořák, Black Lantern, 2019, exhibition view, photography by Ondřej Polák


Filip Dvořák
Untitled (Black Lantern Series), 2019
mixed media on canvas
90 x 110 cm
photography by Ondřej Polák