Born 1966 in Zilina, Slovakia.
Lives and works in Bratislava.
Education |
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| 1988–1994 | Academy of Fine Arts, Bratislava |
| 1993 | Slippery Rock University, Slippery Rock, PA |
Awards |
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| 2018 | Lovis Corinth Prize, Kunstforum Ostdeutsche Galerie Regensburg , Germany |
| 2012 | Artist of the Year, Deutsche Bank, Germany |
Solo Exhibitions (selection) |
|
| 2018 | #12 Roman Ondak, mezzaterra11, Belluno |
| Objects in the Mirror, Base / Progetti per l'arte, Florence | |
| Based on True Events, Lovis-Corinth-Preis, Kunstforum Ostdeutsche Galerie, Regensburg | |
| 2017 | History Repeats Itself, KUNSTEN Museum of Modern Art, Aalborg |
| Man Walking Toward a Fata Morgana, The Arts Club of Chicago, Chicago | |
| 2016 | The Source of Art is in the Life of a People, South London Gallery, London |
| 2015 | Storyboard, Times Museum, Guangzhou |
| Teaching to walk, Fondazione Nicola Trussadi, Milan | |
| 2014 | Roman Ondak, Kaldor Art Projects, Sydney |
| 2013 | Some Thing, The Common Guild, Glasgow |
| Escena, Museo Nacional Centro de Arte Reina Sofia, Madrid | |
| 2012 | Roman Ondak, Musée d’art moderne de la Ville de Paris / ARC, Paris |
| do not walk outside this area, Deutsche Guggenheim, Berlin | |
| Within Reach of Hand or Eye, K21, Düsseldorf | |
| 2011 | Time Capsule, Modern Art Oxford, Oxford |
| The Exhibition Vanished Without a Trace, Museo Rufino Tamayo, Mexico City | |
| Enter the Orbit, Kunsthaus Zürich, Zürich | |
| 2010 | Glimpse, with Robert Kusmirowski, Fondazione Morra Greco, Naples |
| Before Waiting Becomes Part of Your Life, Salzburg Kunstverein, Salzburg | |
| Shaking Horizon, Villa Arson, Nice | |
| 2008-2010 | Measuring the Universe, DAAD Galerie, Berlin; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam |
| 2008 | Path, CCA Wattis Institute, San Francisco |
| Go East, with Zilvinas Kempinas, MUDAM, Luxembourg | |
| 2007 | My Summer Shoes Rest in Winter, Pinakothek der Moderne, Munich |
| 2006 | It Will All Turn Out Right in the End, Tate Modern, London |
| Here or Elsewhere, CAC Brétigny, Brétigny-sur-Orge | |
| 2005 | One Year Solo Show, CAC Brétigny, Brétigny-sur-Orge |
| 2004 | Spirit and Opportunity, Kölnischer Kunstverein, Cologne |
| 2000 | Through the Eye Lens, Ludwig Múzeum, Budapest |
Group Exhibitions (selection) |
|
| 2019 | Someone Walking Around, Fundació Antoni Tàpies, Barcelona |
| Useful Photography. Photography in Contemporary Slovak Art, Slovak National Gallery, Bratislava | |
| 2018 | 1914/1918 - Not Then, Not Now, Not Ever, Bundestag, Berlin |
| The World on Paper, Sammlung Deutsche Bank – Palais Populaire, Berlin | |
| Antoni Tàpies. Biografia Politica, Fundació Antoni Tàpies, Barcelona | |
| Against the Current. Journey into the Unknown, Museum Morsbroich, Leverkusen | |
| 2017 | WAITING. Between Power and Possibility, Hamburger Kunsthalle, Hamburg |
| PÓLPRAWDA | HALF-TRUTH, Królikarnia / National Museum in Warsaw, Warsaw | |
| Tugendhat 1, Villa Tugendhat, Brno | |
| High Line Plinth: a new landmark destination for contemporary art, The High Line, New York | |
| 2016 | Food–Ecologies of the Everyday, 13th Fellbach Triennial of Small-Scale Sculpture, Fellbach |
| Ellipsis, Pulitzer Arts Foundation, St. Louis, MO | |
| Wanderlust, The High Line Art, New York, NY | |
| The Distance of a Day, The Israel Museum, Jerusalem | |
| 2015 | A fragile but marvelous life, Aspen Art Museum, Aspen, CO |
| 2014 | Burning down the house, 10th Gwangju Biennale, Gwanju |
| Invocable Reality, MACBA, Barcelona | |
| 2013 | 13 Rooms, Kaldor Art Projects, Sydney |
| 2012 | When Attitudes Became Form Become Attitudes, CCA Wattis, San Francisco, CA |
| dOCUMENTA (13), Kassel | |
| 2011 | September 11, MoMA PS 1, Long Island City, NY |
| ILLUminazioni - ILLUminations, 54th Venice Biennale | |
| 2010 | 6th Berlin Biennale |
| 2009 | 53rd Venice Biennale |
Roman Ondak's work evolves from a performative conception and consists of sculpture, installation, photography, drawing and performance. The artist often uses found objects. His medium is the everyday and society's sets of expectations, assumptions, automatisms and projections that shape our perception of reality. Although the collaborative approach is not always immediately visible, Ondak has also foregrounded the production of object-based elements by others: For his series of drawings and objects entitled Common Trip, for example, the artist asked others, among them family and friends, to make a drawing or object based on his description. Often, Roman Ondak transforms everyday rituals into poignant performative situations, obliquely addressing social and political ideas and images.
