Galerie Ron Mandos proudly presents the exhibition Naturally Postnatural by Krištof Kintera, one of the most prominent artists working in the Czech Republic today. Exploring the boundaries of contemporary sculpture, Kintera made a name for himself with kinetic objects assembled from everyday materials, as well as thoughtful interventions in urban public space. His works are characterized by a mix of dark humor and social criticism.


With a sharp but playful sense of irony, Kintera comments on capitalism and mass consumerism. In his works, activism and absurdism go hand in hand. In 2015 the artist started working on Postnaturalia: a series of installations, sculptures and drawings deeply rooted in his obsession with the similarities between organic and artificial structures. According to Kintera, we live in an info-industrial copper age. He shows how we are constantly surrounded by copper wiring, spreading out like a finely woven grid: inside the walls of our homes, the smartphones in our hands and in the ground underneath our feet. This complex network of cables and wires shows remarkable similarities to the roots of plants, or rather the mycelial cords of fungi.

Kintera proposes a new, fictional breed of vegetation: how would plants grow and bloom from the discarded materials of our time? Whereas in his earlier sculptures Kintera often used elements such a movement, light, smoke and sound; the Postnaturalia works have a more subdued and introspective character. The artists appropriates contemporary materials for his sculptures, most prominently e-waste: discarded household appliances, obsolete computer hardware, motherboards, wires, circuits, connectors and screens. Usually hidden inside technological devices, these elements are not designed to be looked at: form purely follows function. But discovering how a copper coil inside a TV-set beautifully resembled a blossoming flower, Kintera realized that natural forms, however aesthetically pleasing, are also purely functional. And because scientists and developers closely observe organic structures when designing new systems, technology mimics nature.

Kintera’s sculptures combine a post-apocalyptic appearance with a decadent beauty. Radiating an atmosphere of melancholia, they also seem to contain a warning. Like so many of us, Kintera is concerned about the environment: can technology and nature co-exist?

About the artist

Having experienced the Velvet Revolution of 1989, Krištof Kintera makes work that is deeply rooted in the post-communist era. He studied at the Rijksacademie van Beeldende Kunsten in Amsterdam and had solo exhibitions at Tinguely Museum, Basel, CH; Kunsthal Rotterdam, NL; Volta NY, US; La Station, Nice, FR; Gallery of the City of Prague, CZ and Maramotti Collection, Reggio Emilia, IT. Recent group exhibitions for which the artist was selected took place at Jewish Museum Berlin, DE; Martha Herford, DE; MOCAK, Krakow, PL; Manifesta Foundation, Amsterdam, NL; Museum Quartier, Vienna, AT; Watou, BE; Oerol, Terschelling, NL; Haus der Kunst, Munich, DE; Royal Museum of Fine Arts, Antwerp, BE and Ambika P3, London, UK.

ABOUT Krištof Kintera

Krištof Kintera (1973) is a Czech artist exploring the boundaries of contemporary sculpture. Kintera’s practice unfolds from public installations to small kinetic devices. What makes his work special is that he despite this obvious catchiness; he is able to make sharp, often intuitive decisions that produce a far more multi-layered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with main topics of our times.

The artist oeuvre is rooted in the ‘after the wall’ period of the 90’s, a decade of wild capitalisation in Central and Eastern Europe accompanied by aggressive advertising campaigns in the public space. In this period Kintera produced his now famous Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging have no other goal than to seduce you. These absurd household appliances clearly illustrate the artist’s ability to create sculptures that are iconic works by engaging with the materiality of objects and with issues of ecology and consumption.

After his residency at the Rijksakademie van beeldende kunsten in Amsterdam (NL) Kintera’s work has become increasingly communicative and energized; producing pieces that talk, smoke, move, bang and buzz. Simultaneously a shift has taken place in his choice of materials. The materials of his sculptures maintain their physical presence and identity while now being penetrated by other objects.

In Kintera’s world, fragile trees move nervously, affected by the global issues of our time. He avoids this through playful, creative and direct communication with the audience, as well as paradoxical and ambiguous elements in the work.