• 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.


Lois Weinberger

In focusing on the relationship between “nature” and “culture,” Lois Weinberger is concerned with the “peripheral areas of perception.” His formal inventions and linguistic interventions address that place where the artificial and the natural interlock in order to lay bare a cultural process among the shifts and changes. Weinberger’s fundamental interest is not in an obviously visible nature and its lamentable destruction, the opposite of which would be found in “pristine nature,” but rather—in his words—in an “invisible / intellectual nature.” In his analytical yet experimentally poetic works, Lois Weinberger tracks down a sort of nature that has always been culturally coded, and for which he arrives at or invents the most varied forms of expression and media-based manifestations: as an archive, as writing, as a product of the lab, as a scientific image, as a found and altered object, as a quotation, as built space, as a special biotope, as photography or video. Weinberger works on the interlocking structures of the artificial and the natural in order to create finely differentiated interventions, shifts and changes. “On location, unnoticeable interventions should be carried out / occurrences / which could not really have taken place without human activity. (Weinberger)

Weinberger’s work centers on ruderal plant species, plants that are typically referred to as “weeds” and tend to establish themselves in places where conventional ideas of garden organization are inappropriate; one of their qualities is that they are particularly hardy. To Lois Weinberger and his wife Franziska Weinberger, who works together with him closely, ruderal plants are, as they put it, “artificial metaphors”; they “stand for the explosiveness of themes—from nutrition to the migratory processes of our era—for all of the systems that surround us.


1947, Stams / AT

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