Daniel Pitín
Deers, 2023
mixed media on canvas
180h x 200w cm
70.87h x 78.74w in
Daniel Pitín
Winter landscape with an object, 2023
mixed media on canvas
180h x 220w cm
70.87h x 86.61w in
Daniel Pitín
Parking Lot, 2023
mixed media on canvas
70h x 90w cm
27.56h x 35.43w in
Daniel Pitín: A Race of Peeping Toms
Installation View
Nicodim Gallery, Los Angeles, 2020
Daniel Pitín: A Paper Tower
Installation View
Galerie Rudolfinum, Prague, Czech Republic, 2019
Daniel Pitín: A Paper Tower
Installation View
Galerie Rudolfinum, Prague, Czech Republic, 2019
Daniel Pitin: Broken Windows
Installation View
House of Art, České Budějovice, 2018
Daniel Pitín: The Mechanical Flowers
Installation View
Nicodim Gallery, Los Angeles, 2017
Daniel Pitín
Ocular, 2020
oil, acrylic, and glued paper on canvas
55.1 x 78.7 in
140 x 200 cm
Daniel Pitín
Swimming, 2020
oil, acrylic, and glued paper on canvas
67 x 86.6 in
170 x 220 cm
Daniel Pitín
Closing Doors, 2020
oil, acrylic, and glued paper on canvas
59 x 70.9 in
150 x 180 cm
Daniel Pitín
Flying Nurse, 2020
oil, acrylic, and glued paper on canvas
26.4 x 32.6 in
67 x 83 cm
Daniel Pitín
Phone Call, 2019
oil, acrylic, and glued paper on canvas
78.75 x 70.9 in.
200 x 180 cm
Daniel Pitín
Goldfinger, 2019
oil, acrylic, and glued paper on canvas
78.75 x 78.75 in.
200 x 200 cm
Daniel Pitín
Sunflowers 2, 2020
mixed media on canvas
28 x 25.2 in
71 x 64 cm
Daniel Pitín
Swimming Pool, 2019
oil on canvas
70.8 x 90.5 in
180 x 230 cm
Daniel Pitín
Birds, 2017
oil on canvas
61 x 90.5 in
155 x 230 cm
Daniel Pitín
Melanie_Birds, 2017
oil acrylic and glued paper on canvas
78.75 x 58.7 in
200 x 149 cm
Daniel Pitín
Body Painting, 2016
oil, acrylic and glued paper on canvas
70.8 x 78.75 in
180 x 200 cm
Daniel Pitín
Thistle, 2016
oil, acrylic and glued paper on canvas
16.1 x 17.7 in
41 x 45 cm
Daniel Pitin
First Guest, 2011
oil on canvas
70 x 78 in
170 X 200 cm
Daniel Pitin
untitled – doubt, 2011
mixed media on canvas
17.75 x 24 in
45 x 61 cm
Daniel Pitin
White Ribbon, 2011
mixed media on canvas
66.5 x 94.5 in
169 x 240 cm
Daniel Pitín (b. 1977, Prague, Czechoslovakia) 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. Recent exhibitions include 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).
What exactly happens during an out-of-body experience? Do our souls transcend, while our bodies linger in this world? The group exhibition ‘Disembodied’ attempts to explore this subject, presenting a diverse range of sophisticated works exuding ecstasy and sensuality. One risks getting lost in this parallel universe, but is guided through darkness and the unknown by the wise visions of these artists.
If the expressive analogies may seem similar, the underground elements in Pitín are perhaps more complex than they are in the reality we live today. Information and meanings come together, overlap, hiding and then returning to the light. Impulses that emerge from all sides, to disappear and reappear more insistent and finally populate architectural scenes that are now more real and known.
On Doubt discusses in this sit-down studio visit Pitin's artwork and doubts, his international success, how he wanted to make movies but then went back to painting because of people stealing his film equipment - and how fate got him to Vienna and established his international reputation.
Daniel Pitín’s paintings allegorize the uneasy tension between our mortal individuality and the cold cardboard abyss of the computerized world. Most works in his current show depict inchoate figures merging into geometric multi-planar forms. These unclassifiable, cubistic shapes alternate between obtrusively imposing upon the protagonists and intrusively annexing their bodies.
Daniel Pitín joins Gerald Matt, director at Kusthalle Wien, Vienna, and Katarzyna Uszynska, an independent curator based in Vienna, to discuss film, memory, and the Kafkaesque nature of Pitín's paintings.
The materials and references densely layered in Daniel Pitin’s recent paintings at Mihai Nicodim are beyond excavation, and the work is all the richer for feeling just out of reach. A recognizable subject anchors each painting — a beekeeper standing among his boxes, a woman sitting on the edge of a bed — but suggestion often overtakes description. Narratives elude definition. All the while, the surfaces feel viscerally immediate.
