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  • Structures of Thought
    26 Oct − 8 Dec 2018

    Structura Gallery, Sofia Curated by: Walter Seidl, in collaboration with Maria Vassileva Loan by Kontakt: VALIE EXPORT, Syntagma, 1983 Artists: Sabine Bitter / Helmut Weber, VALIE EXPORT, Sonja Gangl, Maria Hahnenkamp, Christoph Weber, Franz West, Heimo Zobernig The exhibition project “Structures of Thought” deals with artistic representations, which tackle the concept of structure in both a formalist and conceptual way. The exhibition raises the question of how bodily and architectural confinements intertwine in a manner that deals with the conditions of society and the given structures of space, which modernism and its continuing reflections have tackled for more than a century. The artists analyze the notion of how the relationship between the individual and space reverberates in a variety of media to counterbalance standardizing social and spatial codes. http://structura.gallery/en/exhibitions/structures-of-thought/

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Petr Štembera

Petr Štembera is among the key Czech performance artists of the 1970s. He was one of the leading figures of the Prague body art circle and from 1970 mediated contact with important performance art representatives both in the West and in Eastern Bloc countries.

In the early 1970s, Štembera’s interest in extreme physical and psychological experiences led to extreme body art pieces that he began to document in the manner customary in American body art: a black-and-white photography with a short description – a report on when and where it happened. Štembera’s first performances took place in nature and a number of later pieces dealt with the relationship between the human body and a natural entity, such as “Štěpování“ (Grafting) (1975) when Štembera grafted a bush sprig into his arm in a way common in arboriculture, or in “Spaní na stomě” (Sleeping in a tree) (1975) when, after three sleepless nights, he spent the fourth night in a tree.

Štembera’s early work is still in the artist’s self-searching phase and only arose within the closed circle of his fellow-artists Karel Miler and Jan Mlčoch. Only later did Štembera’s body as a subject of inner experience become for him an object and instrument at the same time.  This is very apparent from the time when the Prague body-art trio conducted their performances before small audiences. It was at these “evening performances" secretly held at various places that Štembera conducted a number of extreme body art performances in which he exposed his body and sometimes even the viewers to danger. Štembera’s courage supplemented by skills learned from yoga enabled him to undertake very demanding performances. Their excruciating nature and symbolism strongly resonated with the “normalization” years in Czechoslovakia following the Soviet occupation.

Like Karel Miler and Jan Mlčoch, Štembera decided to stop his performance activities in the late 1970s. This was due to a feeling of exhaustion, but also a feeling of awkwardness to carry out artificially risky acts in light of the real perils faced by those involved in the Charter 77. Štembera’s interest in other psychophysical activities, such as oriental martial arts, also played a role.

P.M.

1945, Plzeň / CZ, at that time ČSSR

Štembera, originally a painter, started performing actions in 1971. They mainly took place in Prague (Czech Republic), but also in other European countries as well as in the USA. Together with fellow artists Jan Mlčoch and Karel Miler he organized and performed actions from about 1970 to about 1980. At the beginning of the 1980s all three stopped performing and afterwards became curators.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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