• 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.


Mária Bartuszová

Mária Bartuszová developed organic sculpture, mastering biomorphic morphology, the principles of bionics, fundamental physical laws and their consequences. The “fluid” character of sculpting, “breathing” bio-architecture and the “repouring” of volumes were the essence of Bartuszová's visual thinking.

As early as 1963, the casting of plaster in rubber (balloon-like) materials became her typical mode of working (the so-called “pneumatic shaping”). After 1962, Bartuszová concerned herself intensively with primary shapes and bioform “cells” (drop, rain, grain, sprouting). Later she created tactile sculptures, combining plaster with natural materials (branches, stones) and developing micro- and macro-structures with powerful inner tension.

Beginning around 1984, she formed pure ovoid forms, whose perfect shapes were then visibly subjected to artistic interference, being squashed, deformed, bandaged. She moulded open shell-like stigmatized forms with “negative volumes”, cavities and emptiness–“a small void full of a small endless universe”.

Bartuszová’s organic, post-minimalist approach to sculpture brings to life a world of subtle, fragile and introverted sculptures, small shapes with strong psychological expression.


1936, Praha / CZ, at that time ČSSR – 1996, Košice / SK

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Courtesy of The Archive of Maria Bartuszová, Košice
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