• 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.


Ricarda Denzer

Ricarda Denzer's audiovisual work deals with language, sound, and translation in the social and cultural fields as well as with the relationship between artist and audience. Denzer employs interviews, sound pieces, videos, photos, and drawings to develop complex transmedia installations. Of essential importance to her works of recent years has been a mobile recording studio (10m² portable. Mobile studio) that she developed for the interview project Šmuggeln (2006/11), as well as the group of notebooks entitled Aufzeichnungen 2006–2012. Denzer’s mobile studio itself forms the setting for the installative work La Croûte de Chou (2007), at the center of which stands a conversation with the Indian union activist Namrata Bali. Bali speaks of sustainable and democratic structures with great intensity, her goal being to strengthen her organization in order to better “organize the unorganized.” The visual level here is dominated by a female prompter, whose whispered text consists of associatively ordered comments by a tax advisor and a coaching team, as well as of fragments from financial and economic news. These elements were brought together by the artist to form an interlaced portrayal of contemporary artists’ present-day occupational reality, working conditions, and generally precarious circumstances. Denzer spent several years ordering her artistic ideas, thoughts, associations, and questions in the notebooks Aufzeichnungen 2006–2012, which thus amount to a visualization of her thought processes. For the artist, these densely written- and drawn-upon notebooks function as “audiovisual memory minutes,” filled parallel to the creation of her works and exhibited together with them as “footnotes of production” (Christa Benzer). A logical consequence of this was the 2012 audio piece Perplexities, which she created together with sound artist Peter Szely; the basis for this transmedia composition is supplied by Denzer’s transcribed notes.

Denzer’s artist book, likewise entitled Perplexities (Berlin, 2013), makes reference to Hannah Arendt, who wrote that, in view of the helplessness and perplexities of our world, the most we can do is to think about them together. This book contains numerous interviews, text collages, and audiovisual protocols pertaining to various projects by Denzer, as well as presentations of recent artistic output.



1967, Kirn / DE



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