The prefix velo has been adopted from the word velocipede. Today it is often used as a collective mark of various types of circumstances linked to the vehicles with one and more wheels powered by muscles.

Bicycles started to appear in the history of art a long time ago. We can find them in the works of artists such as: Marcel Duchamp (Bicycle Wheel), Robert Rauchenberg (Riding Bikes), William De Koonig (Woman and Bicycle), Ai Wei Wei (Forever Bicycles), Bas Jan Adler (Fall II), Natalia Gonczarova (Cyclist), Guido van der Werve (Nummer veertien) and others.

Velo-art is about all creative activities that use or relate to the world of bicycles. It is above all the freedom given by the two wheels. Simplicity. Integration with the surrounding space, natural or unnatural, through direct experience of speed, distance, adrenaline, movement, effort, new places, emotions, people, love to bicycle etc. Simple relation between bike, art and human.

Therefore it confronts with the world of definitions. It’s another description, the presence of which is beautiful but doubtfully necessary. It balances on the edge of emptiness and excessive limitations. Thus where is the place for freedom in the world where the tiniest thing has been defined or on the another hand what would a zebra crossing with no straps be? No one ever said that art has to challenge the world through seriousness. It unfortunately leads to the definition of contemporary art; for example – the Bicycle Wheel designer – M. Duchamp’s „If I Call It Art, It’s Art”. Does it seem to keep us in a single place for years now or it allows us to breath the way we want to? How can you evolve something that is everything?