Frešo lives and works in Czechoslovakia and studied at the Academy of Fine Arts and Design in Bratislava and in Prague at the Academy of Fine Arts. His work and overall approach to art is rather untypical but at the same time they reflect the situation in the society and culture. The artist creates sophisticated concepts and projects presenting them as seemingly simple closed “Pieces of art”. He is often critical in his works and expresses his contempt of the art scene itself and its processes but with a light, humorous and playful undertone.

He prefers short interval between action and reaction and conditions of quick recognition of relations between the expressing “me“ and the indication “he”. Another very typical aspect is that he publicly presents his radical and often despising opinions of the society and art scene which might irritate and provoke a discussion about what is and what is not acceptable as contemporary art or just a self-centered affect of the artist.




„I was here.“ is a follow-up of the previous works from the area of self-portraits and works done in art groups, especially Fifty-Fifty group. The point is the inscription „Bol som tu“ at the gallery wall created immediately before the beginning of an exhibition. I have been dealing with so-called Eastern European thinking for some time (of course, the specification of the Eastern European thinking requires a longer discussion). I think that it is necessary not to separate this phenomenon from artworks. As the European art scene becomes united, this aspect has been fading away slowly and artists more often present themselves as cosmopolitan authors. The project cannot be presented otherwise than by a direct and truthful presence of its author and by his/her authentic gesture of writing. The fact that a gallery participates in the project (by inviting an artist, paying for his travel and accommodation) and then an artist writes „Bol som tu“ on the wall can look like unbelievable cheekiness of the artist but at the same time this act opens several very important levels of the intellectual perception of the artwork. Travelling is the key of this project concept. The effort to gain the biggest possible advantage at the lowest possible investment – thus minimum effort and maximum effect – is typical not only for so-called Eastern European thinking. Open acknowledgement of this type of thinking – the fact that the whole strategy is specified beforehand – brings the project on a very transparent and fair plane and it uses certain honesty and „politically correct“ openness typical for advanced democracies.


It was recently said of Viktor Frešo that his art is like a virus – meaning that it has no body of its own, but takes different strategies, to which he adds his own branding; for instance, along the lines of a spectacle. This can be perceived as a postmodern strategy par excellence – elements of development reflecting the specific conditions of the Slovak art scene can be seen in this. Most of all, Frešo was always the litmus test for these conditions. His multifarious work, composed of objects, projects, actions, paintings, and prints has two main directions apart from this homogeneity – solo works and cooperation. In both, the monitoring of the (self-) position of the artist in the institutional (and therefore high) art scene and the art market is strongly reflected. Frešo says that only his objects and various types of installations can be considered as high art. On the other hand, painting – which he openly assigns the status of “mainstream” – and due to its controversial reception in specialist circles, is precisely what makes him thrive and make more attempts.


I’m really happy to be able to introduce Viktor Frešo – another one of truly important artists of the young generation who evaluates conceptual experience in a new way, hence reflecting new topics anchored in their new era. Frešo’s concepts are always exactly defined, but diverse, and encompass a wide range of problems. He achieves this by frequently changing all useable media, including those that are less traditional at our environment, such as writings in galleries or in carefully chosen exteriors. Sometimes, they even deeply touch – with admirable precision – some social conditions in our country, by country I mean Czechoslovakia, and they succeed in presenting an artist’s role in this harsh period as the subject matter… I realised this fact the most clearly with his series Who is the King? (1) Viktor Frešo, looking as a successful young man, searches for ways how to get close to „celebrities“ and have his photo taken by them. Names of authors, given at each photograph, play with the ambivalence of „who is who“. By the way, only Milan Knížák reflected the author in his physical likeness, as these two are our „greatest artists“, he made Frešo smaller, he cut away most of his head… Július Koller photographed him with his own concept, but so-called „cultural elite“ admired by crowd was easily recognisable…


Viktor Frešo, Born: 22.6.1974, Bratislava, Czechoslovakia.


Academy of fine arts in Prague

2003-2005 – AVU – New media studio, Michael Bielicky: Prague.
2001-2003 – AVU – painting studio, Vladimir Skrepl: Prague.
1999-2001 – VŠVU – sculpture studio, J.Jankovič, J.Hoffstädter: Bratislava.


01.02.2017 – Viktor Freso Now, DSC Gallery: Prague
10.01.2017 – Overheads, Nedbalka Gallery: Bratislava

10.03.2016 – Platform Project 1, Army of the Niemnads, Affordable Art fair: London

30.08.2015 – Niemand in Amsterdam, Unveiling of the public sculpture, Wanrooij Gallery, Amsterdam
29.08.2015 – Birth of the Niemand, Danubiana Meulensteen Art Museum, Bratislava
09.07.2015 – Fragments of the 90’s, Boskovice, CZ
11.06.2015 – DOKOUPIL – FRESO, Kunsthalle Košice, SK
04.03.2015 – Part 1, SODA Gallery, Bratislava, SK

22.10.2114 – I.N.D.I.A, all India Fine Arts & Crafts Society, New Delhi, India
20.08.2014 – Art is Nice, Dvoraksec contemporary, Prague, CZ
19.05.2014 – trAnSparEnt boX, Gallery Nova, Bratislava, SK
12.01.2014 – Park Me, Cotilla Gallery, Fort Lauderdale Miami, USA


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