• WHO WAS 1968?
    28 Sept 2018 − 13 Jan 2019

    LENTOS Kunstmuseum WHO WAS 1968? Art, Architecture, Society Curated by: Hedwig Saxenhuber, Georg Schöllhammer Loans by Kontakt from: Heimrad Bäcker, Stanisław Dróżdż, VALIE EXPORT, Stano Filko, Běla Kolářová, Július Koller, Natalia LL, Karel Miler, Petr Štembera, Raša Todosijević and Goran Trbuljak A decade of eruptions, departures and redefinitions in the steel city Linz. The year I968 marks a turning point that ushered in a new era. Across Western Europe and in the United States Student protests and workers’ revolts called into question the post-war power structure itself, while Soviet tanks bulldozed the Prague Spring into the ground and signalled the end of the hope that the Eastern Bloc would open up to the West. This exhibition harks back to the echoes of I968 in Linz and Upper Austria. Embracing the arts, architecture, music, film and literature, it unfolds for the first time a synoptic map on which key figures and moments of local history – some largely unknown to this day – are accorded a place. It enables visitors to embark on exploratory trips and to survey the rich fabric of relationships and linkages that includes points of contact with international scenarios and trends. Experiments in the aesthetic field were begun with a view to escaping from the cultural stuffiness of the first two post-war decades. The participating artists include: Claudia von Alemann, Ant Farm, Heimrad Bäcker, Josef Bauer, Bill Bollinger, Dietmar Brehm, Gerd Conradt, Waltraut Cooper, Stanisław Dróżdż, Erró, VALIE EXPORT, Harun Farocki, Hans-Peter Feldmann, Stano Filko, Helmuth Gsöllpointner, Timo Huber, Johann Jascha, Martha Jungwirth, Gülsün Karamustafa, Gerhard Knogler, Běla Kolářová, Juliús Koller, Peter Kubelka, Zofia Kulik, KwieKulik, Maria Lassnig, Fritz Lichtenauer, Natalia LL, Karel Miler, Josef Nöbauer, OHO, Yoko Ono, Gina Pane, Friederike Pezold, Cora Pongracz, Chris Reinecke, Martha Rosler, Dieter Roth, Zorka Sàglovà, Dominik Steiger, Petr Štembera, Raša Todosijević, Goran Trbuljak, Tucumàn Arde, Jiřì Valoch, Agnés Varda, Peter Weibel, Hannah Wilke, Jana Želibská, Želimir Žilnik, Zünd-Up


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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