It is difficult to find the courage to jump…
In this case, it would be satisfaction.
Unfortunately, the pig cannot climb on the springboard

The pig as a metaphor has been perceived in English speaking world mostly in connection with people using political privileges or with the politicians themselves since 1960s.
The jump from the springboard represents immense determination and decision for a common visitor to the swimming pool.
It is rather the satisfaction in the metaphor of the creative object used.
The jump of a pig from the springboard might mean death in this context.
However, the pig due to its bodily structure and inappropriateness cannot even climb on the springboard and make this decision.
It cannot be expected from a politician or from a person parasiting on politics any sense of satisfaction mentioned or a declaration of real humane sympathy or humanity without hidden agenda.

The springboard with steps as we know it from swimming pools and a creature standing on it helplessly and hesitantly looking like a living pig. Nothing more, nothing less. No formal exaggeration or stylization or at least aestheticized combination we would expect from an artefact, but only a “real” situation that surprises with the “unreality” of the presence of a pig in such a place where the common sense tells us it should not be found at all. In his creative work, Jan Kadlec has used such “products” several times.  Products that with their effort to convince us that they belong to the “real” world can compete with other mass culture products. But unlike those, they do not lull the spectators into a false sense of certainty of being in that “perfect” world but rather take them outside this reality by the means of their unexpected or unlikely shift.  Whether it is the Pig, or the white Pirate Flag, or the Bed which is simultaneously a McDonald´s logo, they make the spectator feel uncertain and refer to the points related mostly to author’s critical thinking related to problems of contemporary consumer or political cultures or which directly make them immortal. The author, in the case of the Pig refers, by its impasse –  when it cannot climb down the steps nor find the courage for a risky jump, to morally lame yet still necessary political culture, influencing by its deformed morals the identifiable behavior of many politicians – for whom the pig in Anglo-Saxon society, accustomed to a long-lasting tradition of this ailment of democracy, is a popularized assimilation. The Piglet, which wasted its chance and could not jump and remained on the springboard, was doomed to helpless and unstable maneuvering. Then people can understand this within this scope as a parallel to the situation of some politicians which is currently the curse of the entire political scene, or as a wider moral fable – but also as an interesting contribution to current topical problems of relations between the “creative form” of art work and its “concept”.

Viktor Čech