• 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


Tadej Pogačar

Tadej Pogačar’s museum actions, held at the Slovene Museum of Natural History in Ljubljana (Sleeping with Deer, Feeding Bear, Meditating with Mammoth, 1993), were collectively called No-Events Actions; these were performed without an audience and aimed at deepening his empathy towards museum artifacts. Since 1993, he has been acting as the director of his fictional Museum of Contemporary Art P.A.R.A.S.I.T.E., a flexible organization with no location. He entered, as he puts it, “the museum system and used already existing elements in the museums—their collections as well as ‘non-art’ elements—so as to create new nonlinear narratives, new knowledge or a different way of thinking about history and time.” The first P.A.R.A.S.I.T.E. project consisted of interventions at the Modern Gallery in Ljubljana (1995), at the Museum Boymans Van Beuningen (a project for Manifesta 1 in Rotterdam, 1996), and in other locations. In addition to museums, the artist was also interested in the complex social and economic system found in cities; he therefore collaborated with various marginal social groups such as beggars (Kings of the Streets, 1995) and researched parallel economies, forced migrations and human trafficking. In 1999, he initiated a major international project involving sex workers (Code: Red) and also organized The First World Congress of Sex Workers and New Parasitism (Red Umbrellas March, Venice Biennale, 2001). Art affords Pogačar a space in which to focus on those populations that are excluded from the dominant economy. For Pogačar, dialogue and partnership with numerous organizations, activists, experts, and groups fighting for human rights is crucial, and for each project he employs different methods and procedures. He works with different issues—such as education in School’s Out (from 1997 onwards), in which he deals with the issues of knowledge, student-teacher relations, instruction, discipline, and control. He has also invented games such as MonApoly (2004), where the players learn not how to accumulate capital but instead about the geopolitics of sex work in the current era of global capitalism, activist organizations, organized crime gangs, and the like. He has furthermore archived street activities in photo series such as Public Sculpture Archive (1999–2004), Street Economy Archives (Mexico City, 2001) and Architecture for Fun (1996–2006). Tadej Pogačar is manager of the P74 Centre and Gallery in Ljubljana, which he founded in 1997.


1960, Ljubljana / SL, at that time Jugoslavija

Pogačar works as artist and curator. Furthermore did he found the P.A.R.A.S.I.T.E. Museum of Contemporary Art in Ljubljana (Slovenia) in 1990. Pogačar studied Art History, Ethnology and Fine Arts at the School of Humanities, University of Ljubljana. He has received several awards, including the “Franklin Furnace Award” in New York (USA) in 2001, the “Trend” award for exceptional achievements in the field of visual art (2008) and the “Jakopič Award” for fine arts (2009).


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