Gallery of Fantasy, Sci-fi and Adventure.
Best Czech and Slovak artists.
Řipská 828/18, Prague - Vinohrady
5. května 62
140 00, Prague 4
Czech fantastic artistry shares the same fate with fantastic literature. A historian will retrace the deep roots and wide circles of inspirational sources, yet one can speak of a unified trend only after the self awareness of the genre occurs. It is the same with literature. Here we can trace nuances of the fantastic in the Enlightenment period and in the Romantic literature of the nineteenth century. However, to speak of the fantastic in its clearest form is only possible once it begins to acknowledge itself as being fantastic.
It has become both an artistic and social phenomenon. Nevertheless, in the current epoch full of disputes it is possible to count on only one undeniable certainty, this being the lack of an operative authority and firm criteria and rules. In connection with underground movements, one started to take the fantastic as a subculture, however it didn´t take long for the underground to be called the “overground”. It is a world that stands out above a different world, maybe larger, yet planer. Artistic groups used to be connected by personal links and mutual interest. Current underground subcultures, or possibly culture itself does not have to have such firm structures. Their bond lies elsewhere, in an unuttered sharing of a world view. All artists try to create their own world and even realist literature is always unique, intimately centered and created from within. Fantastic literature is specific for its effort to precisely imitate a dream, ambition or worry. It often uses realist, or hyperrealist techniques and this is why air brush has become one of the leading methods. Another technique is playful exaggeration which can sometimes be self-ironic. The heroes are more heroic than God
allows and the women are sometimes gentle, sometimes wild, but always beautiful and sought-after. Both creator and observer know they shall never meet such characters and in this partially lies their complacency. They meet a dream and can actually touch it.
Heroic fantasy is a child of the nineteenth century and it is evident that it shall flourish in the twenty first as well. It provides an alternative to a confused world of technical development and obscure political, social and economic situations. It does not offer any space for relativism. A hero is a hero and a beast is a beast predestined to doom. Despite the shine of swords and the smell of blood, the fantastic is a comforting idyll offering a shelter of security, where good and evil are defined as pertains. This may not be a shelter for everyone, but those who have come into close contact with it shall probably agree that it is a pleasant world to be in.