2000-2026, sprej na papíru 

Krištof Kintera (*1973) patří bezesporu k současným hvězdám české výtvarné scény a jeho dílo je velmi úspěšné i v zahraničním kontextu. Vedle monumentálních objektů často propojených s architekturou se věnuje každodenním kresbám, jež patří k jeho pracovnímu rituálu. Osobité práce vznikají jako proudové kresby vysokým elektrickým napětím. Tyto Lichtenbergovy obrazce – podle německého vědce, který jako první vizualizoval elektrický proud – připomínají také kořenový systém stromů, tedy téma, k němuž se Kintera ve své tvorbě stále vrací. Starší sprejované kresby s typickou postavičkou, která se v autorově tvorbě objevuje od začátku století, se na trhu s uměním objevují sporadicky. Ztracená postavička putující nesrozumitelným světem patří mezi Kinterovy typické práce a je žádoucím kusem do každé sbírky.

• In 1999, 2001 and 2003 he was nominated for the Jindřich Chalupecký Award
• In recent years he has prepared solo exhibitions for the Prague galleries Kunsthalle, the DOX Centre for Contemporary Art and Rudolfinum, and abroad for Heldenreizer Contemporary in Munich, Kali Gallery in Lucerne and Ron Mandos Gallery in Amsterdam

Krištof Kintera lives and works in Prague. He graduated from the Academy of Fine Arts in Prague, where he studied in the studios of Jiří Lindovský, Aleš Veselý, Michael Bielický and Milan Knížák. He then continued his studies at the Rijksakademie van beeldende kunsten in Amsterdam. In 1999, 2001 and 2003 he was nominated for the Jindřich Chalupecký Award. In recent years he has prepared solo exhibitions for the Prague galleries Kunsthalle, the DOX Centre for Contemporary Art and Rudolfinum, and abroad for Heldenreizer Contemporary in Munich, Kali Gallery in Lucerne and Ron Mandos Gallery in Amsterdam.

By now his work is known to almost everyone. Ever since his first exhibition project TO in 1996 he has been one of the leading figures of the Czech scene. The success of his work, however, does not rest on sarcastic humour and gentle exaggeration opening up serious contemporary themes alone; it grows out of a long-term effort to analyse our relationship to our surroundings, to nature and to ourselves.

In the 1990s and 2000s he won popularity above all with his kinetic sculptures and monumental installations. It would be hard to forget the subversive Appliances (1997-1998) or the philosophising Talkers (1999), metaphorical commentaries on human existence. He showed the provocateur in him when he worked with the artist David Černý on the controversial Entropa installation in 2009, and he revealed his gentler side in the exhibition Nervous Trees, which in 2017 literally swallowed up the spaces of the Rudolfinum gallery. With that grand installation of old cables, motherboards and dismantled mobile phones, seen by more than 160,000 visitors, he confirmed his position on the Czech art scene.