• 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


Zbyněk Baladrán

Contemporary criticism regards Zbyněk Baladrán as an underground archivist operating within the ruins of the utopia of former Czechoslovakia following the fall of communism. Baladrán is a member of that generation of Czech artists who arrived on the scene around 2000 and tend to work with the concepts of the archive, of the document, of Foucault’s archaeology of knowledge, of the diagrammatic recording of reality and of the audiovisual field, as well as with other concepts that represent a different, updated version of reality. This version, characterized by its fragmentary nature, opens up new possibilities of interpretation. The concept of the “archaeological field” is a defining metaphor for the images and the fragments thereof that surface. For Baladrán, the large number of amateur family films, newsreels and documentary films made from the 1930s to the present day, as well as documents, texts and manifestos of the 20th century avant-garde, have become an archaeological field. These are subjected to critical analysis, though at the same time space is created for a complex of emotions linked with the expectation of its realization. The aim is not to reconstruct the fragments into their original form, but to make possible new narratives to emerge and to explore temporal, spatial and semantic coordinates.




1973, Praha / CZ, at that time ČSSR

Baladrán is an author, visual artist and curator. He studied Art History at the Charles University Philosophical Faculty in Prague (Czech Republic) from 1992 to 1996, and at the studio of visual communication at the Academy of Fine Arts in Prague from 1997 to 2003. Baladrán is one of the co-founders and a curator of Galerie Display, which was established in Prague in 2001. In 2007 Galerie display merged with into tranzitdisplay, where Baladrán continues to oversee the exhibition program.


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