Patrik Kriššák (1986) belongs to the large wave of the new generation of painters who have gradually estab-
lished themselves on the domestic visual scene since the first decade of the new millennium. If this symbolic

milestone provoked ‘apocalyptic’ moods almost a quarter of a centur y ago, as it did in medieval times, these

young artists are not at all upset by any fear of an absolute end. Although they do not speculate about the
survival of the art of painting, that does not mean they approach painting solely in an orthodox way.

On the contrary: many of these young painters perceive the art of painting as a ‘flexible’ medium able to contain almost anything and thus able to treat, ironise and problematise itself and its nature. In fact,

this approach is in full accordance with the basic description of Generation Y, to which the vast majority of

these visual artists belong. Named Generation Why?, it is primarily defined by an environment of (un)cer taint y and an atmosphere of general (dis)trust, with the two understandably accompanied by fundamental questions asking about and challenging the established ‘veracity’. Quite naturally, the experimental path leading through the very nature of the art of painting and the wall-hung painting is also typical of Patrik Kriššák.

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text: Radek Wohlmuth

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Catalog from the BADOKH edition