In his provocative interventions in galleries and public space, Slovak multimedia artist Viktor Frešo manipulates traditional artistic processes and breaks the rules of established art operations. Armed with absurdity and humour, he attacks what is today mechanically declared to be contemporary art, while simultaneously attempting to find a way out of the dead-end street it is in.

Viktor Frešo’s basic tools are primarily shocking and intentionally crude verbal attacks on the sheltered world of art. With their help, he penetrates the viewer’s consciousness and elicits impressions quite different from aesthetic ones: outrage, shock, and anger, as well as a subsequent critical reaction. In doing so, he leaves the sophisticated intellectual and material paraphernalia accumulated by several generations of conceptual artists by the wayside as superfluous baggage.

Viktor Frešo is not the only one irritated by the emptiness, pretence, and speculative nature of conceptual projects, and above all their hopeless isolation from real emotions and possible artistic experience. The exhibition entitled That’s What I Call a Concept demonstrates a number of forceful solutions that primarily take aim at the status of artists, curators, and other unassailable demiurges of the art world. His radical installations and verbal interventions allow both artists and viewers to claim their inalienable right to perceive, think about, and experience art in an unrestrained manner.