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| created: | 07.06.2009 - 16:38:47 |
| updated: | 10.06.2009 - 22:52:26 |
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8 ❤️
roman ondak
//na biennale mame vraj jeden z najlepsich pavilonov
http://www.washingtonpost.com/wp-dyn/content/article/2009/06/09/AR2009060903150.html
The Slovakian Roman Ondák has landscaped the interior of the Czech and Slovak pavilion, removing the doors at either end and having the Giardini's gardeners plant trees and shrubs to either side of a path that runs through the building. Ondák has made the inside seamless with the outside, and most visitors walk through oblivious; then they pause, do a double-take and experience a momentary sense of confusion and wonder. Ondák's is a consummate gesture, perfectly executed: it generates its own complexity rather than needing any foisted on it.
Loop, 2009
SK Parking, 2001, Secession, Wien
/stare skodovky so slovenskymi spz parkujuce pocas dvoch mesiacov na parkovisku za viedenskym secession/
Spirit and Opportunity, 2004, Kölnischer Kunstverein, Cologne
/the surface of Mars was reconstructed in the gallery based on images published in newspapers and magazines/
It Will All Turnout Right in the End, 2005, Tate Modern, London
/rekonstrukcia obrovskej tubinovej haly tate modern do ludskeho meritka/
Measuring the universe, 2007, Pinakothek, Munchen
/meranie vysky nastevnikov vystavy na stenu galerie/
Unseasonal Carpet, 2oo8, city’s arboretum Winter Gardens, Sheffield
/popadane listie v skleniku/
More Silent Than Ever, 2007, Galerie im Taxispalais, Innsbruck
/Room with a hidden eaves dropping device/
a najma
Good Feelings in Good Times, 2003, Kolnischer Kunstverein, Cologne
/rada pred galeriou/
//na biennale mame vraj jeden z najlepsich pavilonov
http://www.washingtonpost.com/wp-dyn/content/article/2009/06/09/AR2009060903150.html
The Slovakian Roman Ondák has landscaped the interior of the Czech and Slovak pavilion, removing the doors at either end and having the Giardini's gardeners plant trees and shrubs to either side of a path that runs through the building. Ondák has made the inside seamless with the outside, and most visitors walk through oblivious; then they pause, do a double-take and experience a momentary sense of confusion and wonder. Ondák's is a consummate gesture, perfectly executed: it generates its own complexity rather than needing any foisted on it.
Loop, 2009
SK Parking, 2001, Secession, Wien
/stare skodovky so slovenskymi spz parkujuce pocas dvoch mesiacov na parkovisku za viedenskym secession/
Spirit and Opportunity, 2004, Kölnischer Kunstverein, Cologne
/the surface of Mars was reconstructed in the gallery based on images published in newspapers and magazines/
It Will All Turnout Right in the End, 2005, Tate Modern, London
/rekonstrukcia obrovskej tubinovej haly tate modern do ludskeho meritka/
Measuring the universe, 2007, Pinakothek, Munchen
/meranie vysky nastevnikov vystavy na stenu galerie/
Unseasonal Carpet, 2oo8, city’s arboretum Winter Gardens, Sheffield
/popadane listie v skleniku/
More Silent Than Ever, 2007, Galerie im Taxispalais, Innsbruck
/Room with a hidden eaves dropping device/
a najma
Good Feelings in Good Times, 2003, Kolnischer Kunstverein, Cologne
/rada pred galeriou/