• 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



The works of Marina Gržinić and Aina Šmid are characterized by an eclectic, discursive, distance approach to filmmaking free of fascination and empathy. Quotations overlap in a complex, many-layered, and multiply subdivided conceptual and visual framework. Stylistic effects collide, references to narrative “cinema d’auteur” join with references to poetic or theoretical texts (Chekhov, Duras, Barthes, Žižek, Weibel, Gržinić) and with references to mass media – B-movies, TV, commercials, news. Out of all this material, mixed with disnarrative polysemy and an astonishing lack of inhibition, strange “fictions” are reconstructed – fragmentary fictions that are constantly interrupted. Phantasmatic and critical situations are devised around political figures (Mao Zedong and his wife), groups of artists (IRWIN, Neue Slowenische Kunst), and cultural artifacts. The pictures – stereotypes, masquerades, reminiscences – deploy fiction as a mask that is forever being removed, being put back in place, and changing its form. Here, disguise becomes a linguistic strategy. Godard and Fassbinder influence the interpretation of Brecht’s alienation effect. Paradoxically, amidst the rupture of any continuity, a dramatic effect is achieved. Beneath the discourse and the irony, one recognizes the disappointment and the awareness of belonging to the “unfitting other”. Political violation is transformed into physical and existential reality. Reversing Godard’s dictum “That’s not blood, it’s just red paint,” Marina Gržinić writes: “In post-Communist society, a traumatic reality appears beneath the surface of the works. It is not just red paint, it is blood, it is the invisible, post-communist residue that is not (yet) capable of integrating itself into the immateriality of globalization and into the virtual world of the media.”

M.K., K.T.

Marina Gržinić

1958, Rijeka / HR,

at that time Jugoslavija


Aina Šmid

1957, Ljubljana / SL,

at that time Jugoslavija

Collaboration since 1982.


Since 1982, Marina Gržinić und Aina Šmid have together produced over 40 videos, one 16-mm-film, various media installations, documentaries and TV features. In 1997, they also made an interactive CD-ROM for the ZKM Centre of Art & Media in Karlsruhe (Germany). During their 30 years of collaboration, they have exhibited their work at more than 100 festivals and picked up several awards. Gržinić has a PhD in Philosophy and works at the Institute of Philosophy at the Scientific Research Centre of the Slovene Academy of Sciences & Arts in Ljubljana (Slovenia) and is Professor at the Academy of Fine Arts in Vienna (Austria). Šmid is Professor of Art History and the editor of a design magazine. Gržinić’s and Šmid’s work is divided regarding different periods in the long history of their work, in three main field of research: in the 1980s film and socialism in relation to sexuality and history, in the 1990s the war in the Balkan and the transition after the fall of the Berlin wall and in the new millennium they  focus on global capitalism and especially colonialism in between worlds as an outcome of past colonialism but as well as a set of relation of new forms of submissions, coloniality and expropriations.



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