Gommel Stefanie in the Space Between Art and Life
In the Space betwixt Fine art and Life
"It'south all near the mystery of how people conduct in full general. It'southward not a mystery inside of my piece of work, just it'due south a mystery of every 24-hour interval life, you know—why nosotros have partners, why we have families, friends, why nosotros like this and dislike that. Somehow the mystery of these relationships is what leads me to seek means to transform them into art works." (Roman Ondák)
Roman Ondák'southward subtle, almost poetic art usually begins with everyday situations. Minimal shifts in the everyday incorporate the major stylistic means he uses to milk shake up the expectations of the audition and to question conventions, including the art market's. An oeuvre that challenges u.s. to see art and life from new perspectives, that raises philosophical and (socio) political questions—and "sends the viewer on a search for dazzler in the invisible and the fleeting"(Die ZEIT).
When the conceptual artist designed the pavilion for the Czech and Slovakian Republics at the 2009 Venice Biennial, he about made it disappear, by allowing the vegetation from the Giardini—bushes, copse, and paths—to continue growing inside the edifice. Loop quickly became a favorite with visitors to the Biennial, every bit information technology dissolved the national pavilion and its original function and carried on the brandish of national achievement ad absurdum in a placidity, ambiguous way. "Information technology was not a work of cosmos, but to say 'here, I'thou fine art.' Rather it was something that was simply at that place, and it didn't affair what information technology was. It was fantastic" (Udo Kittelmann).
Indo not walk exterior this expanse, a project for the Deutsche Guggenheim in Berlin in 2012, Ondák also challenged the fine art public to have experiences on the edge, fifty-fifty to transgress boundaries. Probably every airline passenger has seen the phrase "Practise not walk exterior this area," when looking at the wing of an aeroplane. Visitors to the museum were able to cantankerous over an original wing from a Boeing 737-500, which Ondák had had especially transported from kingdom of the netherlands to Berlin, to get from i gallery to the next. Only by ignoring the directions, by walking beyond the fly as if it were a bridge, was it possible to overcome the boundaries of the exhibition space—"not simply that of the material space, but besides of the conventions and power structures with which art is defined. Everyone knows the prohibitions, barriers, and boundaries that lend artworks a valuable, exclusive aura and thus fetishize information technology: Please do not bear upon!" (Friedhelm Hütte).
Although, in Berlin, Ondák installed a readymade of enormous proportions, well-nigh of his creative interventions are ordinarily light, inconspicuous, and frequently intangible works. Frequently, the Slovakian artist volition engage a third party as co-producer. InTeaching to Walk, an exhibition in Prague in 2002, he hired the wife and son of a friend in guild to—as the artist said—literally copy the ordinary process of learning to walk and put it into the context of an exhibition, so that information technology would get a performance.
InSkillful Feelings in Adept Times, a work that Ondák first conceived for the Kölnischer Kunstverein in Cologne in 2003, he besides receded into the background as the author. Here, the artist hired people to stand up in line in front end of the exhibition hall—an interventionist activity in which he created a link to a long tradition in socialist Eastern Europe before the fall of the Berlin Wall, while at the same time, he alluded to his own history in the former Czechoslovakia. "That was also something that was total of promise. For instance, when my begetter said, 'Next time I'g in line, you'll go a cycle.'" (Roman Ondák)
Finally, Ondák's projectMeasuring the Universe, produced to cracking acclaim in 2007 at the Pinakothek der Moderne in Munich and in 2009 at the MoMA in New York, besides recalls an everyday childhood experience. But as children stand in door frames and are measured by their parents, museum guards in this projection used black felt pens to marker the heights and names of visitors, forth with the engagement of their visit, on the museum wall. As the action went on, the white wall turned black as the fine pen marks condensed to form a wide ring. The public itself "made" the art. To quote Ondák once once more: "I retrieve we can simply guess what makes people attracted to this piece of work. . . for them this might. . . correspond the elementary fact that with the nearly archaic means you can create a complex image, which can compete with the most contemporary high-tech media. And they are part of information technology."
June 26, 2012 Stefanie Gommel
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Source: https://www.hatjecantz.de/roman-ondk-5095-1.html
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