Pavel Kreml

“Everything, what we did, why we did it. They kept searching for the context - what was behind it all. But there was nothing. Pataphysics [a kind of humorous pseudo-science of the absurd - trans.] was a kind of leitmotif, which we’d been introduced to by Eda Vacek - that makes the impression of trouble, but it’s not - it’s just a different perspective on a given subject. But pataphysics was hard for them to swallow. We had things like research on the audibility of a person going to the toilet in a block of flats. Silly stuff like that. It was just pataphysics; trying to make it out as some kind of source of resistance was total nonsense, that wasn’t its purpose at all.”

“Pejša and I and the other boys saw it as a sport. We always applied somewhere, they refused to exhibit us, but it was an opportunity for us to meet. We didn’t see each other the whole year through, sometimes, but we knew we’d meet up because we were going to apply to this that place, and then we’ll go to pick up our paintings because they wouldn’t display them, so we’d meet there, go have a beer, a chat, and so on.”