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Random Gallery
AFTER THE SEASON
2026 · in front of the Van Gogh Museum, Amsterdam, Netherlands
A discarded Christmas tree lies horizontally on institutional grass, displaced from its ritual function and stripped of ornament and future. Positioned in front of the Van Gogh Museum, the tree becomes a quiet counter-image to cultural permanence, embodying exhaustion, aftermath, and temporal waste. The work frames celebration as residue and asks how public space absorbs what culture has finished using. Nature appears not as renewal but as evidence. The piece operates as a soft monument to abandonment.
A discarded Christmas tree lies horizontally on institutional grass, displaced from its ritual function and stripped of ornament and future. Positioned in front of the Van Gogh Museum, the tree becomes a quiet counter-image to cultural permanence, embodying exhaustion, aftermath, and temporal waste. The work frames celebration as residue and asks how public space absorbs what culture has finished using. Nature appears not as renewal but as evidence. The piece operates as a soft monument to abandonment.
DISPLACED INTO SHELTER
2026 · Bratislava, Slovakia
A machine wrapped in translucent plastic becomes a suspended body, caught between protection and erasure. The membrane weakens its identity, transforming it into an anonymous, almost organic mass. Placed within the urban structure, the work reflects vulnerability, care, and the quiet uncertainty of objects left in public space. Light passing through the plastic animates the form, emphasizing impermanence and latent presence. The scene functions as an unintended monument to suspension and waiting.
A machine wrapped in translucent plastic becomes a suspended body, caught between protection and erasure. The membrane weakens its identity, transforming it into an anonymous, almost organic mass. Placed within the urban structure, the work reflects vulnerability, care, and the quiet uncertainty of objects left in public space. Light passing through the plastic animates the form, emphasizing impermanence and latent presence. The scene functions as an unintended monument to suspension and waiting.
DETAINED TRAJECTORY
2025 · outside MACBA — Museu d'Art Contemporani de Barcelona, Barcelona, Spain
A randomly kicked football, lodged within the architectural structure of a contemporary art museum, operates as an unplanned intervention into the institutional space of art. The situation articulates tension between a spontaneous gesture outside the art system and its subsequent symbolic appropriation. In the context of Barcelona, the work acquires a legible connection to collective urban experience and everyday culture. The piece oscillates between an accidental readymade and a site-specific situation in which authorship is replaced by circumstance and time.
A randomly kicked football, lodged within the architectural structure of a contemporary art museum, operates as an unplanned intervention into the institutional space of art. The situation articulates tension between a spontaneous gesture outside the art system and its subsequent symbolic appropriation. In the context of Barcelona, the work acquires a legible connection to collective urban experience and everyday culture. The piece oscillates between an accidental readymade and a site-specific situation in which authorship is replaced by circumstance and time.
TRAPPED FLOW
2024 · during Biennale Arte, Venice, Italy
It embodies a silent dialectic between nature and humanity, between geology and industry. The stone, a time capsule shaped by centuries, is suddenly arranged into a composition that is both fragile and definitive. The slightly deformed metal arc evokes a framing gesture, yet simultaneously disrupts it. A spontaneous gallery in raw terrain, an ephemeral architecture documenting an unseen hand of intervention. At this moment, the question arises: Where does nature end and art begin?
It embodies a silent dialectic between nature and humanity, between geology and industry. The stone, a time capsule shaped by centuries, is suddenly arranged into a composition that is both fragile and definitive. The slightly deformed metal arc evokes a framing gesture, yet simultaneously disrupts it. A spontaneous gallery in raw terrain, an ephemeral architecture documenting an unseen hand of intervention. At this moment, the question arises: Where does nature end and art begin?
FOREIGN BODY
2023 · Rusovce, Slovakia
Banana is placed into a water environment that is culturally and biologically inadequate for it, causing a loss of its original identity and function. The object becomes a foreign body within the landscape, suspended between food, waste, and a sculptural sign. Water acts as a transformative medium that neutralizes meaning while intensifying material presence. The work exists exclusively in a specific place and time, where the object’s very incongruity generates significance.
Banana is placed into a water environment that is culturally and biologically inadequate for it, causing a loss of its original identity and function. The object becomes a foreign body within the landscape, suspended between food, waste, and a sculptural sign. Water acts as a transformative medium that neutralizes meaning while intensifying material presence. The work exists exclusively in a specific place and time, where the object’s very incongruity generates significance.
SUBTLE COLLAPSE
2022 · Bratislava, Slovakia
Everything seems solid and stable until one piece begins to give way. This intervention in the pavement speaks to our fragile balance—whether in society, architecture, or our own lives. It’s the moment you realize that stability is an illusion, and it’s the small disruptions that define our space.
Everything seems solid and stable until one piece begins to give way. This intervention in the pavement speaks to our fragile balance—whether in society, architecture, or our own lives. It’s the moment you realize that stability is an illusion, and it’s the small disruptions that define our space.
FORGOTTEN OFFERING
2021 · Košice, Slovakia
The contrast between the ephemeral and the permanent, between the fragility of nature and the brutality of the urban environment. Scattered flowers on the asphalt are not merely a random scene but a trace of an unseen story—a wound in the urban fabric. Once a symbol of beauty and life, now deformed, crushed, and stained, the flowers become abject—cast out from the order they once belonged to. Their presence on the road disrupts expectations and raises questions: what happened here? The urban space is a palimpsest of stories, where these flowers serve as a trace without a body, a trauma without direct violence. In this absence lies the power of the image—a critical moment that destabilizes the everyday.
The contrast between the ephemeral and the permanent, between the fragility of nature and the brutality of the urban environment. Scattered flowers on the asphalt are not merely a random scene but a trace of an unseen story—a wound in the urban fabric. Once a symbol of beauty and life, now deformed, crushed, and stained, the flowers become abject—cast out from the order they once belonged to. Their presence on the road disrupts expectations and raises questions: what happened here? The urban space is a palimpsest of stories, where these flowers serve as a trace without a body, a trauma without direct violence. In this absence lies the power of the image—a critical moment that destabilizes the everyday.
FILTERING REALITY
2021 · Bratislava, Slovakia
The work employs found textual material physically disrupted by a metal grid, functioning as a symbol of systemic filtration and control over the flow of information. Readability is fragmented; meaning collapses and reassembles in the gaps between metal and paper. The piece addresses the overload of public space by messages, calls to action, and conspiratorial narratives that overlap and neutralize one another. The grid operates not only as an obstacle but also as a framing device that determines what can be seen and what remains suppressed. The work becomes an image of contemporary experience shaped by reality mediated through filters of power, media, and individual paranoia.
The work employs found textual material physically disrupted by a metal grid, functioning as a symbol of systemic filtration and control over the flow of information. Readability is fragmented; meaning collapses and reassembles in the gaps between metal and paper. The piece addresses the overload of public space by messages, calls to action, and conspiratorial narratives that overlap and neutralize one another. The grid operates not only as an obstacle but also as a framing device that determines what can be seen and what remains suppressed. The work becomes an image of contemporary experience shaped by reality mediated through filters of power, media, and individual paranoia.
ABSENT PRESENCE
2020 · Bratislava, Slovakia
A fascinating encounter between everyday life and poetry. A plastic glove, discarded on the asphalt, carries within it the tension between human presence and absence. An environmental intervention that reflects our post-pandemic reality. These simple gestures can serve as a mirror of collective responsibility, while also opening up questions about transience and anonymity in our daily lives. Even ordinary objects, when properly re-contextualized, can serve as an archive of life that reflects our society. In this sense, art is above all a matter of perspective, not material.
A fascinating encounter between everyday life and poetry. A plastic glove, discarded on the asphalt, carries within it the tension between human presence and absence. An environmental intervention that reflects our post-pandemic reality. These simple gestures can serve as a mirror of collective responsibility, while also opening up questions about transience and anonymity in our daily lives. Even ordinary objects, when properly re-contextualized, can serve as an archive of life that reflects our society. In this sense, art is above all a matter of perspective, not material.
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