Daniel Pitín (b. 1977, Prague, Czech Republic) is a leading figure among the generation of artists to have emerged since the fall of communism in Central and Eastern Europe. He received his education from the Academy of Fine Arts, Prague, Czech Republic in 2001, and continues to live and work in Prague. Exhibitions include Liang Fu, Chantal Khoury, Daniel Pitín, Nadia Waheed, Nicodim, Los Angeles (2024); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); The Newcomers Association, hunt kastner, Prague (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Time Machine, Nicodim, New York (2023, solo); Galeria Nicodim, Bucharest: 10 Years, Galeria Nicodim, Bucharest (2023); Sommerkino, Czech Center, Berlin (2022, solo); A Race of Peeping Toms, Nicodim, Los Angeles (2020, solo); A Paper Tower, Galerie Rudolfinum, Prague (2019, solo); Formal Encounters, Galeria Nicodim, Bucharest (2018); Broken Windows, House of Art, České Budejovice (2018, solo); Grotto, Charim Gallery, Vienna (2018, solo); Crystal Gardens, GRIMM, Amsterdam (2017, solo); The Mechanical Flowers, Nicodim, Los Angeles (2017, solo). Pitín is collected by the the Los Angeles County Museum of Art and the Knoxville Museum of Art, and his solo institutional exhibitions include Cover Story, Boulder Museum of Contemporary Art (2012); and After the Fall, Hudson Valley Center for Contemporary Art, Peekskill and the Knoxville Museum of Art, Knoxville (2011).
Mihai Nicodim Gallery is proud to present the second solo show with the gallery of the Czech artist Daniel Pitin. Born in 1977 in Prague, Daniel Pitin is part of a new generation of painters from Eastern Europe currently gaining wide recognition from both institutions and private collections. Pitin’s recent work is focusing on an investigation into the past motivated by an unexplainable impulse of trying to dig up lost experiences that have been buried deep in his subconscious and only through painting he can expose their real significance. Born during Communism regime but growing up in capitalism, Pitin is not trying to illustrate through his paintings the key to open up the past, but rather provide a clue for the direction he is heading. Sometimes his paintings are just a simple reaction to recurring impulses, thoughts and unconscious pressure to find respite in faint memories. Filmic images play a major role in the work of Daniel Pitin. As the artistic treatment of the interrelationship between images, film provides him with a point of departure and a source of inspiration. With film footage from the Communist period, which was part of his youth, stills from the seventies TV series and detective series, Pitin creates fictional settings by editing images and using the process of painting to create an open space where interplay with memory may have its stage. The motifs and design principles are frequently reminiscent of theatrical stage sets, communicative spaces following different narratives which are also produced when seen by the viewer; an illusion that can fully engage the emotions and is open for interpretation. In this fictional architect’s diary the characters inhabiting the settings are often distinguished by theatrical poses. Their gestures and facial expressions suggest an existential aura conveying an image of a theatrum mundi. The filmic image is deconstructed in various ways: sometimes by ripping and burning paper and canvas, sometimes by adding to the surface in order to disrupt it.
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