• 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


Josef Dabernig

Josef Dabernig’s multifarious oeuvre of films, photographs, objects, public art projects and meticulously carried out handwritings suggest notions of orderliness embedded in conceptual artistic practice. The artist’s take on thoroughly planned plots in his films often leads to moments of absurdity, which derive from the specific locales and the situations his laymen actors are involved in. Absence and presence form some of the central themes in many of Dabernig’s films, stemming from a modernist logic of clear aesthetic patterns of pictorial creation. The predilection with sometimes fetishized cars and trains in remote villages challenges the living conditions in post-industrial times. Dabernig’s films often refer to an immediate Socialist past, where moments of modernity prevail, yet in a seemingly Fordist manner. Loneliness and fatigue are recurrent motifs, which heighten the viewer’s awareness for detail and the contours of the architectural settings. The films, which are mainly shot in black and white, reinforce a system of duality, where no intermediate emotions are at stake. Be it the dull landscape, which evokes stages of remembering the past or the silent characters reminiscent of the era of silent movies, Dabernig creates universal moments that stand between modernity and a present time which is still encumbered by the past. Simple actions are carried out to extremes, which seem to freeze moments of time or the plots, which tell about routine moments of life. Often, the films obtain qualities characteristic of road movies, where time elapses and protagonists have to deal with the given circumstances of their travels and surroundings. Dabernig introduces viewers to the history of film and at the same time anticipates notions of contemporary cinema, where sound compositions play a decisive role to support the protagonists’ actions. His subtle takes on the everyday, which is bereft of glamorous events, reveal the depths of human existence in ordinary situations. Hence, especially the filmic oeuvre stands in the tradition of a cinema d’auteur, where screenwriter and director unite, and in Dabernig’s case also become actor as well.



1956, Kötschach-Mauthen / AT

Dabernig graduated in Sculpture from the Academy of Fine Arts in Vienna (Austria) in 1981. His sculptural discourse in succession dissolved in different media, like photography, text and construction. In 1996 Dabernig started to realize short films in showcase at festivals like the Locarno International Film Festival, International Short Film Festival Oberhausen, International Film Festival Rotterdam and Toronto International Film Festival. His film “Hypercrisis” was nominated for the European Film Awards at the Venice Film Festival in 2011.


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