Keyhole, exhibited in 2012 by Deutsche Guggenheim, presents us an small circular structure attached to the wall, that when the cap covering it is carefully slipped, it shows a common keyhole. At that point, several queries rise up on any spectator, that even if one held the key capable of opening such artifact (dragging the whole wall as if it was an enormous door), they’ll hardly be responded. Roman offers us instead a tiny panorama, in which we are intruders and denied visitors from a peephole.

Drawer of the Enthusiast comments on what any infant might keep on their pocket: candy wraps, broken pens, small notes on pieces of paper, among other objects or fraction of objects relative to childhood. Each element, beyond demonstrating a purely accumulative and senseless action, it speaks about a secret identity, a disorder systematized under very specific guidelines, and yet, unknown (innocent meanings reserved even from the artist).

Third Way helps us to explain the interpretation we give to Roman’s work in general: a little stair hanged on a larger one. An alternative—perhaps risky and intricate, that nevertheless ends up in the same place—, an extraordinary dilemma.

The present anthology that we have started to gather, gives testimony of the persistent search that Roman Ondák has done along his artistic trajectory.

Drawer of the Enthusiast and Third Way were also exhibited in 2012 by the Musée d’Art moderne de la Ville de Paris.