吉日多考皮尔生于科尔诺夫，前捷克斯洛伐克，于1954年在布拉格苏联军队在1968年入侵后，他逃脱了与他的家人在奥地利德国。1976年，他开始在美术学院的学院学习科隆。后来他又在法兰克福大学和上课库珀联盟在纽约，在那里他学习以及其他根据德国概念设计师汉斯·哈克。哈克的影响力，多考皮尔的早期工作是显而易见的。从1983-84多考皮尔是客座教授在美术学院杜塞尔多夫和1989年在马德里。

1979年创办多考皮尔集团Mülheimer弗赖海特艺术家，如汉斯·彼得·亚当斯基，彼得Bömmels和Walter Dahn的。该小组与艺术品经销商保罗Maenz谁在1982年在他们的共同工作室科隆名为Mülheimer弗赖海特街道举办多考皮尔的首次个展，这六个相关Jungen威尔顿试图通过使用探索自己的艺术当代表达neoexpressive，强烈多彩的绘画与传统学科和通过重写的智力，降低了形式语言的形象化的风格最小和观念艺术。“我认识到，概念艺术家已经成为骗子，”多考皮尔说。“他们已经答应我们的是救赎，没有艺术形式，但我会去到一个画廊，就什么也没有看到，这将是一个很多钱- 。只是不能它”

但已经在早期多考皮尔开发工作的一个不太野性，相当不寻常的方法，并很快发现个别考虑自己的主观激进的方式。与他的“书画”在显示文献 7，卡塞尔，1982年，多考皮尔引起了艺术界的关注。这是一个巨大的涂称为上帝，让我看看你的球，一种敬意到朱利安·施纳贝尔板画，（这是由拼贴成图像碎陶瓷餐具）。施纳贝尔没有被邀请参加展会-在多考皮尔的眼睛严重effront。自此-除了与早期的群展Mülheimer弗赖海特 -多考皮尔的作品曾在众多一人显示了画廊，博物馆和世界上其他文化遗址。

作品
按照达达主义的论文杜尚，多考皮尔从未想过要服从于个人或强制的风格。他从来没有开发出一种统一的风格，将允许观察者认识到他的工作。相反，他转述不同风格的前面，与他们扮演和发明了新技术。只有在一定的表现力和他对色情的亲和力可以定义自己的影像世界。今天他的作品包含了超过60系列和远远超过100设计的技术或风格。他的一系列的选择如下。
自1989年以来多考皮尔开发的技术煤烟绘画，绘画投影图像与燃烧的蜡烛烟灰或用火炬的火焰较大的工程到一张空白的画布从天花板吊持平。该煤烟绘画，往往被视为Dokoupils作品中最重要的系列，包含不同系列，如艺术品拍卖的的描写Subastas -系列，1989年或近期的叫豹子（2000- 2009年）或者“基督”画，描绘耶稣基督（他的1986/87系列画作耶稣的参考）。对于他的轮胎画的1991- 1992年，他用在主要湿，不接地帆布新鲜的颜色染扎胎。在他的肥皂泡绘画的1992-93他让肥皂泡破灭在画布上，而液体肥皂是用颜色或墨水混合。2003年，多考皮尔创建鞭作品通过甩动牛仔鞭，这是被困在一个油漆罐前，在画布上。一个多考皮尔最近的工作是该系列喷漆的佛像在画布上。这意味着它们是像佛，玛丽莲和蒙娜丽莎全部一次，因为沃霍尔的玛丽莲是20世纪的蒙娜丽莎。

尽管他的作品回顾展将类似于不同的画家的群展，它无关的任何风格多元化，有风格是否一致的索赔，或与各种后现代反讽。他多方面的作品的重点实际上是在开拓原有的技术和配置生成好玩的实验，并在新的图像可以出现，并确保有使图像的行为是独立的媒体今天世界的肖像冲动的身体紧张的域。在这个意义上多考皮尔可以被看作是一个“艺术家发明家”：发明家的风格和技巧，最终明确概念方法。

Jiří Dokoupil was born in Krnov, former Czechoslovakia, in 1954. After the invasion of the Soviet army in Prague in 1968, he escaped with his family over Austria to Germany. In 1976 he began studying at the Academy of Fine Arts in Cologne. Later on he also attended classes at the Universities of Frankfurt and the Cooper Union in New York, where he studied among others under German concept artist Hans Haacke. The influence of Haacke is evident in Dokoupil‘s early work. From 1983–84 Dokoupil was guest professor at the Academy of Fine Arts of Düsseldorfand 1989 in Madrid.

In 1979 Dokoupil founded the group Mülheimer Freiheit with artists such as Hans Peter Adamski, Peter Bömmels and Walter Dahn. The group was associated with the art dealer Paul Maenz who organised Dokoupil‘s first solo exhibition in 1982. In their shared studio in Cologne on a street named Mülheimer Freiheit, the six Jungen Wilden sought to explore a contemporary expression for their art by using a neoexpressive, figurative style of intensely colourful painting with traditional subjects and by overriding the intellectual, reduced formal language ofMinimal and Conceptual Art. "I’d come to realize that the conceptual artists had become liars," Dokoupil has said. "What they had promised us was salvation, art without form. But I’d go into a gallery and there would be nothing to see, and it would be for a lot of money – that just couldn’t be it."[1]

But already in an early stage Dokoupil developed a less wild, rather unusual method of working and soon found his own radical subjective way with individual considerations. With his "book painting" shown at Documenta 7, Kassel, in 1982, Dokoupil attracted the attention of the art world. It was a gigantic material painting called God, show me your balls, a kind of homage to a Julian Schnabel plate painting, (which were made of broken ceramic dishes collaged into an image). Schnabel was not invited to participate in the exhibition – in Dokoupil‘s eyes a serious effront. Since then – besides the early group exhibitions with the Mülheimer Freiheit – Dokoupil's work has been seen in numerous one-man shows in galleries, museums and at other cultural sites worldwide.

Works
In accordance with the thesis of Dadaist Marcel Duchamp, Dokoupil never wanted to be subordinated to a personal or a forced style. He never developed a uniform style that would allow the observer to recognize his work. Rather he paraphrases different preceding styles, plays with them and invents new techniques. Only a certain expressivity and his affinity for eroticism may define his world of images. His oeuvre today contains over 60 series and far more than 100 devised techniques or styles. A selection of his series is listed below.Since 1989 Dokoupil has developed the technique of Soot Paintings, painting projected images with soot of a burning candle or in larger works with the flame of a torch onto a blank canvas hanging flat from the ceiling. The Soot Paintings, often regarded as the most important series within Dokoupils oeuvre, contain different series such as the depictions of art auctions, the Subastas- series, of 1989 or recent ones calledLeopards(2000–2009) or "Christ" paintings depicting Jesus Christ (a reference to his 1986/87 series of the Jesus paintings). For his Tire paintings of 1991–1992, he used freshly colour-dyed rolling tires on predominantly wet, ungrounded canvas. In his Soap Bubble Paintings of 1992-93 he lets soap-bubbles burst on canvas, while the liquid soap is mixed with colour or ink. In 2003 Dokoupil creates Whip Paintings by lashing a cowboy whip, which was stuck in a paint pot before, at the canvas. One of Dokoupil‘s most recent work is the series of spray-painted Buddhas on canvas. They are meant to be like Buddha, Marilyn and Mona Lisa all at once, since Warhol‘s Marilyn is the Mona Lisa of the 20th century.

Even though a retrospective of his oeuvre would resemble a group show of different painters, it has nothing to do with any pluralism of styles, with the claim of the coincidence of styles, or with a variety of post-modern irony. The focus of his multifaceted oeuvre is in fact on exploring original techniques and configurations generating a domain for playful experimentation and physical tension in which new images can arise and assuring that the act of making images is independent of the iconographic compulsions of the media world today. In that sense Dokoupil could be seen as an "artist inventor": inventor of styles and techniques ultimately a clearly conceptual approach.