• Probe 1 – The Story of Slovak (Post)Conceptual art
    12 Dec 2018 − 24 March 2019

    Prague City Gallery / Stone Bell House Curated by: Vlado Beskid and Jakub Král Loans by Kontakt: Ján Mančuška, Julius Koller, Stano Filko, Roman Ondak The exhibition will introduce Czech public into one of the crucial tendencies found in modern and contemporary Slovak art. It will focus on the origination and development of Conceptual and post-Conceptual Art within the horizon of the past fifty years in Slovakia, i.e. from the alternative, unofficial scene of the 1960s to the post-1989 legal artistic platform. The oeuvres of two generations of artists, such as Viktor Frešo, Jozef Jankovič, Anetta Mona Chisa & Lucia Tkáčová, Martin Kochan, Július Koller, Marek Kvetan, Ján Mančuška, Roman Ondák, Boris Ondreička, Monogramista T.D, Rudolf Sikora, Pavla Sceranková, Peter Rónai and Jaro Varga, will serve to present particular forms of Conceptual artistic morphology, as it was shaped by the new aesthetic criteria with their codes, in the context of time. The exhibition, held as a specific contribution to the celebrations of the 100th anniversary of the existence of Czechoslovakia, will go hand in hand with interventions by several Czech artists (Jan Brož, Alice Nikitinová, Vít Soukup, Pavel Sterec, Antonín Střížek, Michaela Thelenová) who will loosely contextualize selected historical, social, economic and world-view facets of our history. Their main subject of interest is the transformations of the internal social paradigm, presented the loss of the utopian outreach of our thinking in connection with the declining big ideologies.

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Katalin Ladik’s “Mail Art” stamps, produced between 1977 and 1984 as part of her visual research, adhered to an artistic practice that had been common within the Fluxus movement since the early 1970s. Collages with differing numbers of “artistamps” in various Pop Art-inspired color schemes show glimpses of people in a manner reminiscent of photo booth portraits. Each stamp contains its own speech balloon that makes reference, for example, to colleagues such as Peter Below or Gwendolyn Muschelman, as well as to other trans-disciplinary phenomena such as lunch art. Ladik’s connections with and references to her German colleagues also moved her to use German phrases such as the expression “Post Kunst” to denote this particular phenomenon. Alongside other interventionist practices, Ladik used this artistic method as one of the tropes within her career as visual artist, actress, performer, and poet.


  • Artist: Katalin Ladik
  • Original Title: Mail Art
  • Year: 1978
  • Material: stamps mounted on cardboard
  • Dimensions: Framed: 60,9 × 24,7 cm (24 × 9 3/4 in.) Original Size: 49 × 13 cm (19 5/16 × 5 1/8 in.)
  • Inventory no.: K155
  • Category: collage
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  • Photo: Adam Sakovy