The artist stages an encounter between the audience and random fragments of often alienated thoughts.
The artist performs a factual misunderstanding between four white walls.
The artist overestimates the public’s interest in their work.
The artist plays a “prominent” role in a profit-driven society.
The artist lobbies for the interests of his guild and his own by enclosing his work in a suitably chosen frame of reference.
The artist is drowning in the treacherous whirlpools of mutually antagonistic discourses.
The curators say, “Aesthetic experience can go hand in hand with misunderstanding – we try to prevent this by all possible means.”
The curators navigate the currents and shallow waters of contemporary art.
The curators are aware that they may be wrong in their assumptions about who is a common visitor to the gallery (a municipal contributory organization).
The curators are presenters rather than curators.
Curators establish a win/win relationship with the subjects of the exhibition.
The viewer always has their own private expectations.
The viewer expects from the exhibition a time well invested – an excess or pastime.
The viewer shakes their head at the artist’s rambling and empirically unsupported arguments.
The viewer thinks that the fiction in which truth is hidden inside a lie does not apply in this case – the artist has gazed too much into the mirrors of virtuality, simulation and reproduction.
The viewer follows the subliminal logic of high school art history.
The gallery (a municipal contributory organization) generates countless jillions of symbolic capital.
The gallery (municipal contributory organization) must cooperate with the currently reigning power.
The gallery (a municipal contributory organization) erects bridge arches between the population’s ideas of their own exceptionalism, cultural realpolitik and the dispersed art community.
The gallery (a city contributory organization) enforces its own norms in the field of consumption of art products.
The gallery (a municipal contributory organization) is urinating against the wind of oblivion.
Marek Meduna consumes art forms – obsessively and neurotically.
Marek Meduna is addicted to the guilty pleasure of pornography of easy metaphors.
Marek Meduna fills art forms and recycled and almost arbitrary content.
Marek Meduna paints, draws, illustrates, stares into the folds of the net and pastes tiny bits of time into videotapes.
Marek Meduna is as compact as a disc that can no longer be played on any device.
Marek Meduna presents a certain act of knowledge – he operates code while being aware of his cultural competence.
The exhibition is simply the sum of the artist’s efforts over a period of time.
The exhibition is placed between the reconstructed, seemingly neutral, walls of the gallery.
The exhibition is a place where there is a now resigned, now fierce struggle for the meaning of life and the world.
The exhibition is a fiction that plants the germs of fantasy in the routine of the viewer’s private life.
The exhibition is a soap bubble in the rapid flow of time.
This exhibition is called From/to, win/win.
This exhibition lasts from one date to the next.
This exhibition is a marketplace in which its actors exchange their trust in symbolic capital.
This exhibition is the slash of a roof under which a warehouse of artifacts hides in the dry and warm.
This exhibition is a scramble of small interpretive victories and the limits of factual experience.
