The theme of Aichi Triennale 2022, “STILL ALIVE,” was inspired by a series of works entitled I Am Still Alive by the Aichi-born conceptual artist On Kawara, who continually dispatched the fact of his own existence during his lifetime using telegrams starting in the 1970s. This international art festival to be held in 2022 will offer a multi-dimensional interpretation of the words “STILL ALIVE,” revisiting the origins and sources of contemporary art while also focusing on the gaps between domains that have come to be classed according to fixed categories, all the while shuttling back and forth between the past, present, and future. Through the medium of art, Aichi Triennale 2022 promises encounters with uncertainty, the unknown, a diversity of values, and overwhelming beauty, while also serving as an opportunity for thinking about how we can create an ideal, sustainable future together. COVID-19, on the other hand, has curtailed transnational activities and projects, and directed our attention to the regions where we actually live and work. In terms of “regional rediscovery,” one of the distinctive characteristics of art festivals held in different cities, Aichi Triennale 2022 will also incorporate the proud history, local industries, and traditional culture of Aichi Prefecture, exploring the question of how to rejuvenate and revive these elements by taking the present time as a starting point, while also promising to be a creative response to the question of how to connect local cultures around the world to a wider global context.
Born 1966 in Žilina, Slovakia.
Based in Bratislava, Slovakia.
Almost as an anthropological investigation, daily life and events find themselves juxtaposed by Roman Ondakʼs way of opening up spaces where the rules of the everyday are challenged by slight alterations. But Ondak does not understand space merely as a physical material entity. Social norms, divisions and regulations shape them and our understanding and perception of them. Nor is our perception absolutely objective and simultaneous. It is, so to speak, soaked in knowledge, emotions, interests and, which is particularly important, memories. Space is, furthermore, not static. It is defined with movements, through space and, for the same token, through time. Space is therefore not merely physical, but essentially temporal. It exists in time, which means that it constantly changes and transforms, and that memory is vital for constructing its identity. It is no coincidence, then, that most of Ondakʼs works deal with space precisely through the point of view of time and memory.