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  • Poetry & Performance / The Eastern European Perspective
    22 December 2017 − 10 March 2018

    Nová synagóga, Žilina, Slovakia Poetry & Performance / The Eastern European Perspective 22/12/17 –  10/03/18 Loans by Kontakt: Vlado Martek: Ciklus Soneti / Sonnet Cycle, 1978-79 Raša Todosijević: Znak / Sign, 1971; Skulptura / Sculpture, 1971; Was ist Kunst, Patricia Hennings? / What is Art, Patricia Hennings?, 1976; Was ist Kunst, Marinela Koželj? / What is Art, Marinela Koželj?, 1978 Tamás St. Auby: Kentaur / Centaur, 1973-1975/ 2009 Curators: Sabine Hänsgen, Tomáš Glanc, Daniel Grúň Nová synagóga in Žilina presents the exhibition Poetry & Performance. The Eastern European Perspective curated by Tomáš Glanc, Daniel Grúň and Sabine Hänsgen. The exhibition brings together more than forty artists, poets and creative groups from the countries of the former Eastern Europe as well as contemporary artistic positions. The exhibition will be opened on December 22nd from 6 p.m. to 8 p.m. by a series of several performances and will run until March 10th 2018. In the second half of the twentieth century, poets and artists in particular took up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the “made-ness” of language, its material and medial dimension, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out. In Eastern Europe, poetry and performance played a significant role in the unofficial or partially tolerated cultural scene. The writing practice of samizdat and its relation to the devices of concrete and visual poetry have been treated and presented in a number of previous projects. Until now however, less consideration has been given to the circumstances of performance. In addition to the typescript literature of samizdat, subcultural milieus attached particular importance to the oral recitation of poems, exhibitions, and poetry actions. The interrelation between text and situation in poetic acts functioned as a trigger for performances and happenings. The exhibition presents authors from subcultures in socialist states along with contemporary positions that continue the legacy of combining poetry and performance. It shows the efforts of poets and artists to break free from controlled language and normative communicative now and then. Poetry & Performance. The Eastern European Perspective thus confronts the current social challenges in the post-socialist countries through the prism of language and ideology and looks back at their points of departure. Artists: Milan Adamčiak, Pavel Arsenev, Babi Badalov, Bosch+Bosch (Attila Csernik, Slavko Matković, László Szalma), Collective Actions Group, Ľubomír Ďurček, Else Gabriel / Via Lewandowsky, Rimma Gerlovina, Tomislav Gotovac, Group of Six Artists, Bohumila Grögerová / Josef Hiršal, Gino Hahnemann, Václav Havel, Jörg Herold, Semyon Khanin (Orbita), Kinship Moho (Zuzana Jasenková, Kristína Országhová, Magdaléna Scheryová), Dávid Koronczi, Katalin Ladik, Yuri Leiderman / Andrey Silvestrov, Vlado Martek, Andrei Monastyrski, Monogramista T.D, Ladislav Novák, Pavel Novotný, NSRD (Hardijs Lediņš, Juris Boiko, Imants Žodžiks), OHO Group (Nuša & Srečo Dragan, Naško Križnar), Boris Ondreička, Orange Alternative, Roman Osminkin, Ewa Partum, Bogdanka Poznanović, Dmitri Prigov, Lev Rubinstein, Nóra Ružičková / Marianna Mlynárčiková, Mladen Stilinović, Gabriele Stötzer, Tamás Szentjóby, Bálint Szombathy, Raša Todosijević, Jaromír Typlt, Jiří Valoch. Nová synagóga, Žilina, Slovakia J. M. Hurbana 220/11, 010 01 Wednesday — Sunday, 1 p.m. — 7 p.m. free entry (voluntary) http://www.novasynagoga.sk/poetry-performance/

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Kazimir Malevich

A Letter from Kazimir Malevich


My dear friends:

I was very much surprised to learn from the article "Diaorama" [A.i.A., March ´86] of the artist David Diao, who actually copied my work using the famous photo of "The Last Futurist Exhibition" held in Petrograd, Dec. 17, 1915 – Jan. 19, 1916. I was a little bit confused, but eventually I liked both the idea and the paintings. Hope one day to see them for real. It was not less surprising to learn from the same article that my work has recently been used by some other artists from your beautiful town of New York. I can´t stop asking myself: Why? Why now, after so many years?

I remember that cold and snowy winter in Petrograd 1915 as if it were yesterday. Everything was in motion. It was a time of great hopes, enthusiasm, optimism, futurism and, of course, Revolution. You could smell it even in the cold Russian air. The end of the great century … the new age … huge and cold building at Marsovo Polje (Champ de mars) no. 7… "The Last Futurist Exhibition 0,10" … no heating … Puni running around always asking for nails …  Kliun quite nervous, like a bridegroom before the wedding. I must admit I didn´t have any previous plan for my, as you now say, “installation.” It was purely accidental. I only knew that the "Black Square" must be in the top corner. Everything else was irrelevant. While I was hanging my small Suprematist paintings here and there, it didn´t occur to me that the photo of this installation would become so famous and be published in hundreds of books, reviews. And today it is even “quoted” in the paintings by one of my colleagues! I don´t remember now who actually took this picture, but it is just a photo, black and white. No colors! I have an impression that this photo is becoming even more important than my Suprematist paintings! This was the major reason I kept on thinking for years to do the same exhibition again.

Since, for obvious reasons, it was not possible to do it in Petrograd, I decided to make "The Last Futurist Exhibition" again exactly 70 years later (Dec. 17, 1985 – Jan. 19, 1986) in a small apartment in the beautiful town of Belgrade. One part of the exhibition was an exact replica of the Petrograd installation. But this time, no papers with titles on the walls, no numbers, no chair. Another part of this exhibition presented some of my recent, neo-Suprematist works:  Suprematist icons on ancient reliefs and sculptures. Suprematist icons in needlepoint. I think you can get a better impression from the picture.

I know that for most of you this letter will come as a great surprise, since it is generally believed that I died in 1935 I know … Suetin´s coffin … the great burial procession along the streets of Leningrad … the "Black Square" on the grave … Yes, there are many people thinking that I died. But, did I?

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