View into the exhibition at SODA gallery
10. April - 30. April 2011
Though his highly professional postproduction dominates, his artwork is basedon far broader context of strategies and meanings than the norm. The basic theme of Viktor Frešo´smovement on the art scene is studying his common etymological and narrative qualities, searchingfor its sense, its auracity and sparklingly initial creative substances; only then he is interested in thestrategy of his own production. In this sense Frešo is a romantic artist. With respect to his restlesscharacter and exclusive talent, Frešo perceives his presentations as events sui generis, as gesturesthat have their exquisite aesthetic canon and meaning. However, his presentations are mainlyevents, actions or performances. The firmly arranged exhibition with perfectly polished objectsis also an active and variable event, or rather an incentive to be perceived. At a certain point, theexhibition is a stoppage of creative production. From this point media and “material” scales Frešo´sartwork, where the mental and potential motor activity is visible and logically unfolded. Frešo´swork tell stories or they count on them. We can imagine what has happened before and during theartwork ‘s origin. The events regarding the artwork also develop after their creation and exhibition.Frešo keeps everything in mind; art is part of the life game.
Frešo´s artwork is usually funny, with a punch line, despite their variable potentiality exactlyconstructed. Frešo also confidently works in the sphere of postproduction, though he becamefamous for his objects equipped with various wheels that allowed him to release a playful,nonsensical artistic expression while simultaneously attacking borders of constructive and conceptualwork. As an ideal example, the title work at Prague´s exhibition is Václav Havel´s official presidentialphotograph with a halo. More or less he works and deals with a polysemy. By referring to Havel,Frešo presents a multifaceted, personal reaction on both Havel person, at the time when hewas a Czechoslovak politician, and the social connotations related to him – including artisticembalmment. In this connection, I mention that in Prague´s National theatre, just shortly afterHavel’s death, a rather badly done bronze bust of the well-known playwright and statesman wassituated; surrounded by the greatest Czech personalities. The legend under the photography isalso worth mentioning because it reads “President of the Czechoslovak Socialistic Republic“ and ofcourse Frešo´s striking “signature“. Light provocation is a decoration present in art since the time ofromanticism; it is natural, gentle, necessary and prolific – even in the case of Frešo´s visual activity