Vernisáž (Vernissage). 2000
At first glance, the genre work, almost optimistic, deceives the body and attracts with a quite typical, unheimlich quality. It could be a mock-up, but why so “softened”? Or a kind of voodoo object, a “doll’s house” which the artist “knocked up” in the studio, and there he observes and subjects it to various (thermal?) experiments… The object’s material substrate is again mysterious. It looks soft and rubbery, like a pastry tempting to touch, to lick. Even with its “gallery” dimension, it (this self-referential object of the Gallery) is disturbingly associative. We wish to shrink into the object or zoom in, and thus become a part or at least an observer of the “art world”. So: institutional metaphor or meta-form – that’s one of the possible readings. But then there is another reading, to which the author himself guides us: Yes, it is a picture of our world, our “world in miniature”, and a monument to our smallness and softness, a quasi-entomological collection of people imprisoned in their modernist “stack of floors”.