The Virtues and Vices of Our Time — Matyáš Chochola

The Virtues and Vices of Our Time sculptures by Matyáš Chochola, currently exhibited at the EPO1 Contemporary Art Center in Trutnov, are a postmodern interpretation of the original early 18th-century allegorical cycle Virtues and Vices by Matthias Bernard Braun (1684–1738), created for the nearby Baroque complex at Kuks.

This collection of 12 large-scale sculptures employs innovative concrete 3D-printing technology in an unconventional way, pushing the boundaries of the medium through extensive experimentation and enriching it with the artist’s handwork.

Rooted in fundamental sculptural archetypes of Chochola’s work, the series stylistically oscillates between antiquity, cubism, post-apocalyptic motifs, sci-fi, and brutalism. The composition evokes the ruins of a temple or a chessboard.

Each piece references the characteristics of Braun’s iconic sculptures and, through the shorthand of 3D printing, reinterprets their meaning for our era—one without a clearly defined moral code of virtues and vices, as was present in the Baroque period.

“The sculptures and their unique characters, relationships, and references to various historical styles, cultures, or values have no clear continuity—they are incorporated freely into the sculptures. They carry both positive and negative qualities, mixed into an original cocktail. In this way, they resemble us, humans,” notes Chochola. The artist invites viewers to develop their own personal relationship with each allegory and uncover its unique cryptographic meaning, completing the work through their engagement. The sculptures bear working titles such as Mace I and II, Anemone, Totem, Tires, Brutalist, Cubist, Basalt, Baobab, Picasso, Tree Spirit, and Meteor.

Each sculpture stands 3–4 meters tall and weighs around one ton of printed concrete. Through additional hand interventions involving materials such as glass, pigments, and bronze, Chochola emphasizes the creative and artisanal manipulation of the 3D prints.

In collaboration with Voxell, a team specializing in architectural and design projects, the sculptures were designed with a focus on maximizing the potential of concrete 3D printing while pushing its limits beyond conventional boundaries. This approach led to numerous experiments and innovations directly reflected in the final sculptures.

Shapes that could not be achieved within the standard printable angle ranges were underlain with lightweight clay aggregate, leaving a unique imprint on the sculptures’ surfaces. Some pieces were divided into segments, printed both horizontally and vertically, and later ground and assembled. Algorithms simulating printing errors or glitches were utilized in the programming of the printing paths, while occasional manual interventions introduced uncontrollable forms directly into the printing process.

The sculptures are currently on display at the EPO1 Contemporary Art Center, whose industrial architecture earned the Building of the Year 2023 award. In the future, the sculptures are intended for permanent installation within a high-quality architectural setting that fosters dialogue between public space and architecture.