The exhibition The Weakest Nest Robber takes us to the environment consisting of multiple environments, multiple objects and multiple events, the real ones as well as the unreal, while the environments themselves are not indifferent but rather generate a multi-inclusive empire that causes the observers to shrink while increasing possibilities of the observed. At the same time, it allows the situation, which is clearly gallery-based, to be perceived, to view the exhibition space in its entirety, where its windows take us to various (un)realities and the exhibited objects take us to different ones. The viewer moves along the wall, alternately very close to it and slightly away from it; the author ́s place is in the center, closer to the windows, he is not visible, though. We let our imagination run wild and see his infinite but well-arranged table and the materials and fragments of objects laid out on it with a flair for freedom, thus pointing out their differences as well as their common points.We also try to deduce his sensible and gentle touches, long observations, tiny movements and skillful finesse with which he changes the materials lying there into representatives of artificially or organically alive forms of various cultures, times and biotopes. The exhibition of David Fesl remains classic while escaping the criteria, the same way his objects tend to, inspired by the nests of miscellaneous creativity under water, in the tretops, at the jewelry workshops on the island of Nisyros, at the typewriters, in the biotechnology labs. The author has both the characteristics of a visual artist and a writer – this exhibition’s creation process resem- bles the act of writing a novel. However, don’t expect the autonomous frailty maintained by the care in an enclosed space; the gentleness of the robber is an intentional admission and at the same time a reference to the coarseness of his colleagues. If you are lucky enough or manage to come at the right time, you will be walked through the exhibition by twins in multiple-characteristic costumes who will interpret ontologies of the elements for you, which they will weave into promising micro-histories.
— Edith Jeřábková