• 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


Flaka Haliti

The works of Flaka Haliti take shape as installations, videos and photographs that revisit situations stemming from historical traditions. While her oeuvre tackles uneasy questions about social inequality, it does so for the most part with an ironic twist. Aspects of migration permeate many of the artist’s projects, in which normative elements of conservative politics are brought to the fore. While living in Frankfurt, the artist sought to challenge elements that are traditional in a Western context—and came up with a variety of interventionist works. In her sound installation “Ex-Spatium,” she dealt with the different languages of expats living in the city, questioning various notions of labor as they relate both to those who came to work in the city due to its status as one of Europe’s financial capitals and to those who moved there due to other migrant reasons. In doing so, she pointed out an expat network that grants access to certain events—but only upon payment of a membership fee. This gave rise to questions about the inclusion and exclusion of non-nationals. Subsequently, Haliti developed the project “Artist Immunity” as published in the blog Frankfurter Gemeine Zeitung. This project advocated giving legally immune status to artists, for while many of them cross borders as often as diplomats do, the procedures for obtaining access to the countries in question, let alone residence permits, are far from easy or comfortable. The latter circumstance can also be viewed as a central factor behind the artist’s approach. Haliti’s works, informed by the precarious conditions in which many people find themselves on a daily basis, confront viewers with an uneasiness that triggers questions about personal identities that go beyond a mere national framework. The architectural sites of her interventions are of equal importance, hinting at the specific conditions present in the respective social locales. Accordingly, Haliti’s works call for artistic self-empowerment in order to reflect on the necessities of political engagement via a visual vocabulary.




1982, Prishtina / KO, at that time Jugoslavija

Haliti studied Graphic at the Academy of Arts, Prishtina University (Kosovo), from 2002 until 2006. From 2008 until 2013, she studied Fine Arts at the Städelschule in Frankfurt/Main (Germany). Haliti was visiting professor of aesthetic of space at the Architecture Department at the Prishtina University from 2007 until 2008. She was the First Prize Winner of Agriculture and Banking organized by Städelschule and Rentenbank, Frankfurt/Main, in 2009 and has received a DAAD Scholarship for 2009/2010.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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