Roman Ondak

You may have seen Roman Ondák’s work and not realized it. Among the Slovak artist’s projects that easily disappear into the fabric of quotidian life are Good Feelings in Good Times, 2003, a queue of ten to twenty people that formed daily outside the Kölnischer Kunstverein main entrance for half an hour; Teaching to Walk, 2002, for which the artist invited a young mother to bring her one-year-old boy into an otherwise empty gallery space for his first steps; and Silence, Please, 1999, in which attendants at Amsterdam’s Stedelijk Museum dressed in the original guard uniforms from the periods in which they were born (the 1940s to 1960s). Ondák’s work questions the “real” or tangible quality of lived experience—and the always provisional nature of representation—through the doubling of event and nonevent, staging and reality.

His work is distinct from Peter Fischli and David Weiss’s replication

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