

UNTITLED NOW
Untitled Now (ass mann), 2020, 100x40x40 cm
Untitled Now (ass mann), 2020, 100x40x40 cm
Untitled Now (Drumer), 2020, 230x100x100 cm
Untitled Now (Drumer), 2020, 230x100x100 cm
Untitled Now (Light mann), 2020, 190x80x80 cm
Untitled Now (Light mann), 2020, 190x80x80 cm
Untitled Now (Angrinitto), 2020, 120x40x35cm
Untitled Now (Angrinitto), 2020, 120x40x35cm
Untitled Now (chromy), 2020, 120x100x45cm
Untitled Now (head), 2020, 80x180x80cm
Untitled Now (head), 2020, 80x180x80cm
Untitled Now (snowmann), 2020, 180x100x100cm


Family Vintage
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Vaze
Vase 05, 2016, mixed media, 75 × 60 × 45 cm
Vase 05, 2016, mixed media, 75 × 60 × 45 cm
Vase 05, 2016, mixed media, 75 × 60 × 45 cm
Vase 01, 2016, mixed media, 32 × 65 × 40 cm
Vase 01, 2016, mixed media, 32 × 65 × 40 cm
Vase 01, 2016, mixed media, 32 × 65 × 40 cm
Vase 03, 2016, mixed media, 32 × 70 × 40 cm
Vase 03, 2016, mixed media, 32 × 70 × 40 cm
Vase 03, 2016, mixed media, 32 × 70 × 40 cm


Elevators
Elevators 01, 2015, mixed media, 220 × 100 × 120 cm.OBJECTIVE. View of the Installation: Kunsthalle Bratislava, Curator Vladimir Beskid
Elevators 01, 2015, mixed media, 220 × 100 × 120 cm.OBJECTIVE. View of the Installation: Kunsthalle Bratislava, Curator Vladimir Beskid
Stop Eastern European Conceptual Art!, 2015, mixed media, installation on Town Hall Square From White Night, Bratislava
Stop Eastern European Conceptual Art!, 2015, mixed media, installation on Town Hall Square From White Night, Bratislava
Stop Eastern European Conceptual Art!, 2015, mixed media, installation on Town Hall Square From White Night, Bratislava
Stop Eastern European Conceptual Art!, 2015, mixed media, installation on Town Hall Square From White Night, Bratislava
Elevator 01, 2015, mixed media, 220 × 100 × 120 cm
Stop Eastern European Conceptual Art!, 2015, mixed media, View of the installation DOX, Prague
Stop Eastern European Conceptual Art!, 2015, mixed media, View of the installation DOX, Prague


Sound Core
Sound Core 01, 2017, mixed media, 240 × 300 × 160 cm
Sound Core 03 (detail), 2017, mixed media, 235 × 60 × 60 cm
Sound Core 02, 2017, mixed media, 235 × 60 × 60 cm
Gyros 01, 2016, mixed media, 220 × 110 × 110 cm From the exhibition Time After Time, MeetFactory Gallery, Prague
Striptease, 2017, mixed media, 220 × 100 × 100 cm From the exhibition Radislav Matuštík Stipend 2017: Mass Media Images of Women, Bratislava City Gallery – Pálffy Palace, Bratislava


Overheads


Mega Viki (FECI)
Mega Viki (feci) | 700 x 700 x 700 cm, 2018
Mega Viki (feci) is a large, glowing balloon with a basic drawing of eyes and mouth – a self-mocking and irreverent work about the artist’s ego. Frešo meant it as his self-portrait, and the similarity to his facial features is indeed striking. The title itself is also a play on the author’s name, whose works often refer to feminist themes, contrarily showing them from a man’s perspective: Viki is a popular diminutive of the female name Viktoria (employed both in Poland and Frešo’s native Slovakia). The simple, graphic drawing of the eyes and round lips on the luminous balloon resembles traditional Japanese kokeshi dolls. Their history dates back to the middle of the Edo era, when they became popular gifts for children in the northern region of Japan (Tōhoku). The dolls were made of wood and drawn by hand, their head was enlarged with respect to the torso, and the face featured small lips and eyes marked with two strokes. Kokeshi symbolized youth, girlish beauty, and the innocence of childhood; they were meant to bring luck and divine protection to their owners, and were often given on the occasion of a child’s birth. These dolls are still a popular element of Japanese culture, with swarms of fans and collectors worldwide.


Birth of the Niemand
Birth of the Niemand
Birth of the Niemand (20), 2015, polyurethane, 95 × 240 × 350 cm, Danubiana Meulensteen Art Museum collection
Birth of the Niemand (16), 2018, polyurethane, 210 × 700 × 700 cm, edition of 6
Birth of the Niemand (16), 2018, polyurethane, 210 × 700 × 700 cm, edition of 6
Birth of the Niemand (16), 2018, polyurethane, 210 × 700 × 700 cm, edition of 6


angry boy
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Monumenta 2018, Leipzig
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Monumenta 2018, Leipzig
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Monumenta 2018, Leipzig
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Monumenta 2018, Leipzig
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Cologne
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Cologne
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5 Cologne
Angry Boy, 2017, polyester, 350 × 150 × 150 cm, edition of 5


NIEMAND (Picus)
Pičus / Niemand, 2014, polyurethane, 95 × 35 × 35 cm, edition of 36
Pičus / Niemand, 2014, polyurethane, 95 × 35 × 35 cm, edition of 36
Pičus / Niemand, 2014, polyurethane, 95 × 35 × 35 cm, edition of 36


VIKI
Viki (B0N), 2016, mixed media, 48 × 48 × 48 cm, edition of 6
Viki (CCN), 2016, mixed media, 48 × 48 × 48 cm, edition of 6
Viki (B0N), 2016, mixed media, 48 × 48 × 48 cm, edition of 6


Overheads
Gebuľka, 2016, polyester, 98 × 60 × 90 cm, edition of 6
Gebuľka, 2016, polyester, 98 × 60 × 90 cm, edition of 6 From the exhibition Viktor Frešo: Now, 2017, DSC Gallery, Prague
I Woman, 2017, mixed media, 105 × 35 × 35 cm
Rastík, 2016, acrystal, 55 × 27 × 35 cm
Braňo Zámečník, 2016, mixed media, 210 × 100 × 50 cm
Braňo Zámečník, 2016, mixed media, 210 × 100 × 50 cm
NanoFace (M22HTG1620), 2016, mixed media, 120 × 60 × 70 cm
NanoFace (M22HTG1620), 2016, mixed media, 120 × 60 × 70 cm
Fiďko, 2016, acrystal, 175 × 105 × 90 cm From the exhibition Overheads, 2017, Nedbalka Gallery, 2017 he
Boženka, 2016, mixed media, 140 × 50 × 50 cm, edition of 3
Boženka, 2016, mixed media, 140 × 50 × 50 cm, edition of 3
Teodor Pyštek, 2017, acrystal, 100 × 35 × 45 cm some
George (detail), 2016, mixed media, 170 × 55 × 55 cm
Ivan, 2016, plastic, 42 × 27 × 30 cm Rastík
Ivan, 2016, plastic, 42 × 27 × 30 cm Rastík
Ready for, 2001 – 2016, mixed media, 120 × 35 × 50 cm
NanoFace, 2016, plastic, 85 × 60 × 70 cm
NanoFace, 2016, plastic, 85 × 60 × 70 cm
NanoFace (C25ENZ1620), 2016, mixed media, 100 × 80 × 25 cm, edition of 3
Cargo, 2017, mixed media, 169 × 79 × 70 cm
From left: George, 2016, mixed media, 170 × 55 × 55 cm; Teodor Pyštek, 2017, acrystal, 100 × 35 × 45 cm From the exhibition Overheads, 2016 – 2017, Nedbalka Gallery, Bratislava
From left: Braňo Zámečník, 2016, mixed media, 210 × 100 × 50 cm; Ready for, 2001 – 2016, mixed media, 120 × 35 × 50 cm From the exhibition Overheads, 2017, Nedbalka Gallery, Bratislava


SCULTURES
Komatex 02, 2010, mixed media, 180 × 120 × 100 cm, edition of 3
Komatex 01, 2008, mixed media, 180 × 100 × 100 cm National Gallery collection, Prague From the exhibition International Triennale of Contemporary
Komatex 01, 2008, mixed media, 180 × 100 × 100 cm National Gallery collection, Prague From the exhibition International Triennale of Contemporary
From left: S02, 2008, mixed media, 200 × 15 × 15 cm; Window, 2008, mixed media, 100 × 130 × 200 cm; National Gallery collection, Prague From the exhibition International Triennale Of Contemporary Art, 2008, Prague
From left: S02, 2008, mixed media, 200 × 15 × 15 cm; Window, 2008, mixed media, 100 × 130 × 200 cm; Screwdriver, 2007, mixed media, 6 × 3 × 30 cm, edition of 6; Komatex 01, 2008, mixed media, 180 × 100 × 100 cm National Gallery collection, Prague From the exhibition International Triennale Of Contemporary Art, 2008, Prague
S34, 2014, mixed media, 210 × 100 × 100 cm, edition of 3
Three Strong Welds 01, 2013, metal, 80 × 60 × 60 cm, edition of 3
Three Strong Welds 02, 2013, metal, 160 × 120 × 120 cm, edition of 3 From the exhibition Hommage à Peter Strassner, Bratislava City Museum, Devín Castle
S35, 2015, mixed media, 250 × 150 × 150 cm


S16
S16, 2010, mixed media, 200 × 80 × 10 cm, edition of 3 From the exhibition Something About Art, The Good Shepherd Gallery, Brno


Works
Chandelier (detail), 2013, mixed media, 70 × 60 × 60 cm, edition of 8 From the exhibition Art Is Nice, 2014, DSC Gallery, Prague
Chandelier (detail), 2013, mixed media, 70 × 60 × 60 cm, edition of 8 From the exhibition Art Is Nice, 2014, DSC Gallery, Prague
Briefcase, 2008, mixed media, 40 × 40 × 12 cm, edition of 6
S23D, 2015, mixed media, 100 × 100 × 10 cm
S23C, 2012, mixed media, 40 × 40 × 10 cm, edition of 6
Device Porter Simulator, 2000, mixed media, 80 × 80 × 80 cm
S08, 2011, mixed media, 220 × 70 × 70 cm Slovak National Gallery collection From the exhibition Reconstructions, 2015, Slovak National Gallery, Bratislava
S01, 2009, mixed media, 160 × 50 × 23 cm
To God, 2014, mixed media, 60 × 60 × 40 cm
S03, 2010, mixed media, 100 × 100 × 40 cm
Simulator 02, 2012, mixed media, 30 × 30 × 20 cm, edition of 6
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sculpture
S10B, 2016, mixed media, 80 × 80 × 80 cm
S10C, 2016, mixed media, 80 × 80 × 80 cm
S09, 2011, aluminium, plywood, 100 × 100 × 100 cm, edition of 3
S24, 2012, aluminium, 160 × 160 × 160 cm, edition of 6
Cube Connection, 2013, aluminium, 315 × 315 × 315 cm From Unveiling of the Public Sculpture, Košice
Cube Connection, 2013, aluminium, 315 × 315 × 315 cm From Unveiling of the Public Sculpture, Košice
Cube Connection, 2013, aluminium, 315 × 315 × 315 cm From Unveiling of the Public Sculpture, Košice
Cube Connection, 2013, aluminium, 315 × 315 × 315 cm From Unveiling of the Public Sculpture, Košice
Cube Connection, 2013, aluminium, 315 × 315 × 315 cm From Unveiling of the Public Sculpture, Košice


Tyre
Tyre, 2008, mixed media, 60 × 60 × 20 cm, edition of 6


Red Dot
Black Dot, 2009, spray paint
Black Dot, 2009, spray paint
Red Dot, 2007, spray paint From the exhibition Gross Domestic Product, Prague City Gallery
Red Dot, 2007, spray paint
Red Dot, 2007, spray paint


Don’t Write Anything about Me, You Cunt!
Don’t Write Anything About Me, You Cunt!, 2007, spray paint From the exhibition SCOOTER – Biennale of Young Art, Trnava This spray paint gesture by the artist is one of a series of short textual messages / statements such as God Navigates Me or I’m Receiving Clear Istructions. The project Don’t Write Anything about Me... reflects the phenomenon of the name as a means of acquiring credit. A curator’s motivation in choosing a particular artist for an exhibition is often only his/her well-known name, with less emphasis placed on the work presented. Frešo adressed his message, in the form of the spray paint on the wall, to an unnamed female curator. His antipathy to her person was made public only verbally among the guests, and solely during the exhibition launch.
God Navigates Me, 2007, spray paint From the exhibition SCOOTER – Biennale of Young Art, Trnava
Important Things, 2007, spray paint


Writings
I Was Here — Air Cruiser in Ústí nad Labem showed Frešo, as in other projects from this period, responding to the phenomenon of residential stays. Shortly before the exhibition opened, he sprayed the inscription I Was Here on the wall of the gallery. The message was meant to illustrate a certain mode of ‘East European thinking’, which in the artist’s view could be generalised as an attempt to gain maximum advantage with the minimum effort. This consideration is, according to Frešo, inseparably part of the local art scene. With his inscription on the wall, the artist thus mocked the host gallery, which had guaranteed the project organisationally and financially. At the same time, however, he confessed to ‘East European thinking’, thus openly professing utilitarianism and placing the project on the level of transparent approach and fair conduct.
I Don’t Like Juraj Dudáš — Take That Personally, an exhibition featuring Ondřej Brody, Viktor Frešo, Jiří Skála and Evžen Šimera (A. M.180 Gallery, Prague, 2004), aimed to open a discussion about the personal intolerance present on the Czech and Slovak art scenes. The exhibition concept was based on a clear definition of the artists’ relations to their colleagues, with an accentuation of negative emotions. Each of the participants selected an individual towards whom he was harbouring negative feelings at that time, and he expressed this on the gallery wall in whatever inscription he thought fit. The exhibition was outstanding for the quality of collaboration between artists who appeared not as an art grouping but purely on the basis of liking one another personally. ‘The first joint appearance of this foursome (...) seems with hindsight to be their most successful. At this distance in time I have no hesitation in calling it one of the most important actions on the Prague scene in recent years. (...) As far as I’m aware, no project up to that point in time, and in such a pure and radical form, had pointed out the communal character of the Prague “scene”. (...) The radical affirmation of community, presented in Take that personally, was at the same time the sharpest criticism of its enclosedness’. (Václav Magid. 2007. Don’t Take That Personally. In: A2, No. 7)
I’m ¼ Hungarian and I’m ¾ Proud of It — presented at the exhibition Viktor Frešo in Žilina (Museum of Art Žilina, 2004, curator Mira Sikorová-Putišová), is a project which originated in response to a TV appearance by Ján Slota, the mayor of Žilina. Frešo’s project was inspired principally by thoughts about the phenomenon of ‘nationality’, or about the perception of Slovak national identity by some of his fellow-citizens. He could see any reason to consider any of the nationalities from the surrounding European regions as anything but the equal of the others, and above all in a united Europe. ‘I am shocked that such tendencies, which I find incomprehensible, are appearing in this beautiful city. I have a feeling that it’ll take us a few more decades to realise that we’re all one and not Slovak or Hungarian. The curator of the exhibition several times impressed on me that the nationality issues are sensitive, so I shouldn’t speak out about them in the gallery. I consider myself a free artist, and so I’ll do whatever I think appropriate. So that the officials in our semi-Bolshevik galleries don’t get used to being able to interfere with artworks and put pressure on the artist’s free creativity...’ The work was an inscription with black spray paint on the gallery wall. Part of the installation was the packaging of white paint for erasing the inscription (after de-installation of the exhibition), here shown with distinctive lighting as an independent artefact.
We Thank You for All That You’ve Done for Slovak Art... — During a medialised three-hour night guerilla action Frešo projected onto the facade of the Slovak National Gallery, the heraldic institution of Slovak visual art, the words:‘We thank you for all that you’ve done for Slovak art.’ The statement is neither unambiguously pejorative nor celebratory: it maintains a neutral bearing, so to speak, without any more emphatic emotional charge. Frešo is thus commenting on the functioning of a cultural institution. Although the disinterested viewer may tend to find a positive purport in the sentence, what the artist had in mind was more a critical, ironic interpretation of the relationship he then had with the Slovak National Gallery.
I Love to Paint — This work is part of a series of textual self-portraits which also includes the inscription I Love to Spray. Very spontaneously and simply, the inscriptions express the artist’s relationship with visual art activities and his preferences. By verbalising and naming specific activities he confers upon them the status of artwork.
I Love to Paint — This work is part of a series of textual self-portraits which also includes the inscription I Love to Spray. Very spontaneously and simply, the inscriptions express the artist’s relationship with visual art activities and his preferences. By verbalising and naming specific activities he confers upon them the status of artwork.
Thank You God That I Can Exhibit at the 3rd Prague Biennale — So as to guarantee his participation in the Prague Biennale, Frešo decided to work subliminally on the ‘weak spot’ of its current curator, a man with a strong religious predilection. In accordance with the artist’s aim for the project, the unsuspecting curator was enthralled and assigned Frešo to the select group of artists exhibiting at the Biennale. The work thus balances on the dividing line between authentic statement and intentional manipulation.
Don’t Get Your Panties in a Wad / len sa neposer…, 2010, site-specific intervention From the exhibition POP-MOP, SOGA Art Auction House, Bratislava
You Know Twat About Politics — The inscription is a response to an invitation to the political exhibition CZECHPOINT (NoD Gallery in Prague, 2006; curators Tamara Moyzes, Zuzana Štefková). The artist did not create a work on the assigned theme of the exhibition, which was political art; rather, he responded critically to the curators concept itself and its inadequacy. With a simple and outspoken inscription squirted on a cheap gummed cloth, the sort used instead of tablecloths in restaurants of the ‘third price range’ (where ‘well-founded’ speeches about politics are also often delivered), he expressed his contempt for the curators and participating artists. According to him, these artists use their works to pose as experts on politics, which in reality they are not.


What Helped Me, When..
When I wanted to free myself from addictions, this is what helped me: – I started abstaining from all drugs and alcohol – I followed doctors’ orders and professional advice – I started to run and exercise – I stopped going to old haunts and meeting old friends – I set aside time for myself – I imposed punishments on myself – I prayed a lot and meditated – I set myself an exact daily schedule – I quit relationships with women – I met abstainers regularly
When my girlfriend left me, this is what helped me: – I started doing sports – I masturbated a lot – I scored with every woman I met – I stayed on the lookout for a close female companion – I told everyone about it – I prayed a lot and meditated – I disparaged her attractiveness – I wrote an inventory of my past relationships – I took up Okiyome
When I’m depressed, this is what helps me: – sex or masturbation – sports, swimming, running, walking – ideally in the woods – contemplating and meditating on my state – accepting my state and seeking the reason for it – good food, small delights: movies + popcorn – communicating with a woman or with friends – tidying up old photographs
When I wanted to free myself from financial insecurity, this is what helped me: – I try to pay for everyone – I do not concentrate on tomorrow – I leave it to Higher Powers, I meditate – I try to be happy with what I have got – I reduce my costs and cut out pleasures – I give money to beggars, I leave tips – I tell myself that no one can die of hunger
When I don’t believe in myself and have doubts about my art, this is what helps me: – realising that from the higher perspective all this is in no way relevant – I try not to force myself into making art – I test my ideas on friends – I cancel an exhibition rather than go through with a project I don’t believe in – I try to keep my heart open for subtle signs – I ignore my fears that everything has already been done – I remember how much shit I’ve seen – I communicate with God
When I get into a conflict with someone, this is what helps me: – realising that there are not many things that can help me – inhaling deeply and not increasing the tension – thinking back to something pleasant – not attacking the rival physically, not trashing things – remembering extreme conflicts and trying to calm down – to leave immediately, if that’s possible – to make up after the fight, if that’s possible
What Helped Me, When..., 2005, felt pen on plastic panel Slovak National Gallery collection From the exhibition Reconstructions, Slovak National Gallery, 2015
how he dealt with various problems in his life: ridding himself of his dependence on alcohol and drugs, experiencing financial insecurity, having
doubts about his own art, breaking up with his girlfriend... The pragmatic listing of problems, in the mode of a therapeutic exercise (index form),
is not meant to be a universal guide for resolving them, but it offers visitors an opportunity to compare their experience with that of the artist.
At the same time, it represents an awareness that each of us has problems, for which there is a complex of answers and solutions, or at least
methods that help to work towards some solution. By openly presentating his particular problems the artist also frees himself from them and becomes
less vulnerable. Since 2015, the work has been part of the Slovak National Gallery’s collection.


Reaction
Reaction — In 2009, Viktor Frešo was one of four finalists for the Oskár Čepan Award, a local prize given to the best visual a rtistsunder 35 in Slovakia. The jury chose him with a recommendation that he defends his place on the Slovak artistic scene with a new work, to becreated for the final exhibition. At the same time he was advised indirectly that the work should have some other approach besides his ‘traditionallyaggressive pose’. The artist responded in his own way to the jury’s call: he threw a stone with his signature through the window of thegallery space where the finalists’ exhibition was being held. That stone, with the shards of broken glass on the gallery floor, was Frešo’s final work.


Meeting 001
Viktor Frešo & Július Koller: Meeting 001, 2007, colour photograph, artistic collaboration
Viktor Frešo & Július Koller: Meeting 001, 2007, colour photograph, artistic collaboration


Who is the King ?
Photo by Lucie Bílá Prague, Divadlo TaFantastika Monday, April 25, 2005 5:14:56 PM
Photo by David Koller Prague, AVU Wednesday, March 16, 2005 12:29:56 PM
Photo by Bolek Polívka Brno, Divadlo Bolka Polívku Wednesday, March 30, 2005
Photo by Hanka Zagorová Prague, Bar Solidní nejistota Tuesday, April 05, 2005 5:34:34 PM
Photo by Jiří Korn Prague, Náměstí Republiky Tuesday, April 05, 2005 9:51:42 PM
Photo by Milan Knižák Prague, AVU Tuesday, March 15, 2005 11:53:30 PM
Photo by Milan Kňažko Bratislava, TV JOJ Thursday, February 10, 2005 1:03:04 PM
Photo by Karel Gott Prague, Bar Solidní nejistota Tuesday, April 05, 2005 4:22:46 PM
Photo by Richard Müller Bratislava, Hotel Devín Tuesday, January 25, 2005 5:02:40 PM
Photo by David Koller Prague, AVU Wednesday, March 16, 2005 12:29:56 PM
Photo by Helena Vondráčková Řitka, Vondráčková’s garden Monday, April 25, 2005 5:14:56 PM
Photo by Marián Varga Bratislava, Varga’s apartment Thursday, February 10, 2005 2:42:18 PM
This is a multi-layered participative project, which on various levels raises basic questions about the artist’s work.


My Granddad