To term the artistic praxis of Ondreička as heterogeneous would be an understatement. Everything Homogeneous Is Bad was the name of one installation. At the Manifesta in Luxembourg in 1998, he piled up a wild chaos of media fragments and sub-culture symbols (Punk, Heavy Metal etc.)in the basement of a public bath. The title of the anarchistic/manic trash landscape: Egon Grabstein’s Helpless Joy. Ondreička practices an aesthetic of floods and dissolved borders. A virus with the name chaos is inexorably at work, including also tableaux of exceptional fragility. Language is an essential material in Ondreička’s work. For many years, the artist has been operating with a series of artificial terms that lead into an open field of infinite connotation: HERROR, RESISTICA, UNIVERSÜS, HORMONIAC.

The process-like style of working makes discrete works almost impossible. This applies equally to his object collages made of “poor” things (cigarette ends, wires, washing powder, clumps of dust). For the majority of the room installations, the description is: “Various materials, variable dimensions.” The work for the evn collection includes a spoken text. A description of a mental and sexual journey by a character called Mélanchö: “…he is not going deeper. Not just for tonight...”

Wolfgang Kos, 2005 (translation: Tim Sharp)