Boris Ondreička

• In principle, I write and construct00:00:07.979
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• and, in principle, I am not doing anything manually,00:00:16.749
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• except when something occurs to me amidst writing, some sketch,00:00:21.102
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• and I haven't yet processed those notebooks in any way.00:00:25.618
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• You know, those notebooks are not as of yet in any way some kind of basis00:00:29.994
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• that would make me put them in frames,00:00:34.276
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• or, to say it all too simply, that I would put them00:00:38.359
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• between two pieces of glass and place it on a shelf.00:00:42.815
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• That doesn't interest me in any way. And I have utterly lost any interest00:00:46.973
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• whatsoever in the matter. What I do, in principle,00:00:51.042
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• are vector A4s00:00:55.521
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• and I save them as print PDF.00:00:59.731
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• And you can use the vector PDF for anything.00:01:03.950
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• You can make it bigger, smaller, or change color, and so on.00:01:08.153
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• And I save the texts00:01:12.645
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• both in vector and not.00:01:16.911
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• Those that are not in vector I save in case I need at some point,00:01:21.004
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• or in some event, to change the font.00:01:25.225
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• And when I work later with these forms in exhibitions,00:01:29.547
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• then it's for me some kind of relation between adaptation of that,00:01:37.368
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• which is in archive, and architectonic,00:01:41.476
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• thematic, atmospheric and strategic context.00:01:45.883
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• Another example... a few years ago00:01:56.581
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• I have been invited to Prague Biennale00:02:00.850
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• by Juraj Čarný and at the same time by Vít Havránek.00:02:05.148
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• And they didn't know about one another, I guess.00:02:09.516
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• I loved the situation.00:02:13.790
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• So I have both of them sent the alphabet in vector.00:02:18.113
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• To Juraj I have sent the minuscules00:02:22.548
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• and to Vít majuscules.00:02:26.787
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• And I have told them to use it as they want,00:02:30.966
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• and that I don't care at all. Be it color, format, size and whatnot...00:02:35.465
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• that I absolutely do not care.00:02:39.808
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• So, in the end, in Juraj's version it was a black, glossy,00:02:44.198
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• plotter cut vinyl on a wall,00:02:48.298
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• and Vít has done a blue digital print on paper.00:02:52.301
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• The Juraj's was a bit bigger and the Vít's was a bit smaller.00:02:56.748
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• I have sent one and the same thing and then it kind of mutated.00:03:00.882
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• And the artworks were titled differently.00:03:05.183
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• The Vít's version was called 'Fundaments of Radical Poetry',00:03:12.118
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• while the Juraj's version was entitled 'Fundaments of Radical Conflicts'.00:03:16.244
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• There you have a discussion about the alphabet,00:03:24.655
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• which is such a fundamental matrix, you can get anywhere from there00:03:28.980
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• - it's a primary and basal principle.00:03:32.908
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• And primary and basal things are what interest me, because what's emerging00:03:37.171
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• from them is the polysemy, and polysemy is my obsession.00:03:41.287
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• "Even in haiku there are two forms of loneliness to be distinguished.00:03:49.897
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• One is an anxious, substantive need of mate and the other is contemplative.00:03:54.046
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• To have time to reflect upon things on one's own and understand them00:03:58.308
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• without sources of interference in one's environment.00:04:02.552
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• And our, Goethe's Faust and Faust of Fernando Pessoa,00:04:06.747
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• Mikhail Bulgakov, Thomas Mann, Christopher Marlow, Charles Gounod, Arrigo Boito,00:04:11.107
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• Feruccio Busoni, Hector Berlioz, Robert Schumann, Gustav Mahler, Franz Liszt,00:04:15.361
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• Havergal Brian, and a substance is produced BY body,00:04:19.720
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• and a substance is produced IN body, a substance we have named serotonin,00:04:23.873
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• from Latin 'serum' and Greek 'tonic', or, in other words,00:04:28.044
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• from now on simply as 5-HT.00:04:31.989
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• in triggering of mood.00:04:36.034
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• The largest part of 5-HT isn't, however, produced in brain.00:04:39.986
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• Mood is related interactively with dopamine and endorphin, an opioid peptide,00:04:43.838
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• popularly known as the happiness hormone, and when opioid than with effects00:04:47.943
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• similar to morphine. 5-HT is produced in gastrointestinal tract, mostly in bowels00:04:52.145
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• - about 90 percent." Talking with Daniel Pies00:04:56.479
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• we came to this term: protomaterial.00:05:00.676
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• And that I work in such phases of protomaterial,00:05:09.357
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• that some protomaterial is being produced.00:05:13.658
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• And what leads then to the material are various activities,00:05:17.940
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• which is what Bourriaud calls postproduction.00:05:24.697
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• So it's not just coming back to text and reworking it,00:05:28.829
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• but it's also laid out later, you know.00:05:33.084
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• Not all texts are being created together with a specific font.00:05:37.114
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• Therefore some phrases, when they are short and trenchant...00:05:51.178
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• sometimes it's really just that it occurs to you,00:05:55.450
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• you write it down and it you don't change it anymore,00:05:59.654
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• and I process it in Illustrator the very same day,00:06:03.674
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• and it stays so forever and ever. Then I have texts that are longer00:06:07.810
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• or more difficult, and now I write also texts that are really long,00:06:12.045
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• like hundred pages or so, and that's something else.00:06:16.276
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• I don't write continually - I also go back, to the interior of the text,00:06:20.487
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• so that's something like...00:06:27.666
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• as if it was an ivy, what's writing the text, you know...00:06:31.912
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• it grows also from the inside out.00:06:36.005
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• And in the end, its length isn't a question of the last line.00:06:40.226
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• The last line sometimes merely automatically shifts from the inside out.00:06:44.509
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• The longer texts I write in Slovak and the shorter ones in English.00:06:48.859
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• I'm not sure now how to look at it properly,00:07:00.450
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• whether what I say is a disaster or a mere fact or whether it is sad,00:07:04.898
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• but our language territory00:07:09.104
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• is very small and even the medium I work in00:07:13.633
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• is almost irrelevant in this country.00:07:17.838
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• Because it's very small; there is no other reason.00:07:22.115
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• And that's why I reference the bigger language economies, like English.00:07:26.599
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• So even if I write in Slovak,00:07:30.787
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• two thirds of the quasi-Slovak text is in English.00:07:35.185
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• Because I know, simply, that the real recipient00:07:39.579
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• will come from the English-speaking territory.00:07:43.630
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• And that's why I had the dilemma,00:07:48.615
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• whether it's sad or merely a fact. So... I have no idea.00:07:52.792
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• "And a word /00:08:03.690
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• smears word. /00:08:07.945
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• And a sentence /00:08:12.179
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• sentences you. /00:08:16.413
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• Question sounds like a hole."00:08:23.147
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• 'Kosa z nosa' (the band) is not just me.00:08:33.861
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• Above all, it's also Braňo Špaček and now also Peter Hajdin.00:08:39.375
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• There have been many people in the history of the band.00:08:43.512
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• And the band has always exacted a lot of focus,00:08:47.774
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• but not, like a dry one, but...00:08:52.044
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• you must be all there,00:08:56.010
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• it takes the whole of you for it to make sense.00:09:00.195
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• But I am not the perfect singer,00:09:04.326
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• so, in addition, it required a lot of work on my part.00:09:08.761
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• And that's something, that unfortunately00:09:18.702
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• ceases to be part of my life and it makes me sad.00:09:22.875
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• Well, I don't know.00:09:27.087
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• I have often thinking about making my own website,00:09:31.336
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• but somehow I didn't come up with a sufficient reason for doing that.00:09:37.999
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• And, I'm not sure, but it seems a little bit frail to me, you know00:09:47.226
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• - to have an open archive on the web00:09:51.308
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• is for me something, I don't know... it wouldn't be for me anymore...00:09:55.592
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• it's too much of nakedness for me, so...00:10:02.199

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