Roman Ondák (1966) constructs fictions that link the conceptual to the social. Based on his memory and narrative, each work engages in an experience lived by the artist and its “reconstruction” as interpreted by a third party.

For Dubbing (2001), Ondák told those close to him of the events surrounding an exhibition he was involved in. Subsequently, these people, unfamiliar with the artistic environment and not having seen the exhibition, produced drawings based on Ondák’s account and descriptions, which eventually led to the making of this work. Thus, from the initial experience to its final “retranscription”, the works of Ondák become heavier and increasingly complex at each stage of their development and expression.