• 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.


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

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