• 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


Róza El-Hassan

The early work of Róza El-Hassan is pervaded by a post-conceptual approach to objects and images. Her objects are realized on the borders of art and non-art, picture and sculpture, as well as in two and three dimensions. She has hung “Wrapped Objects” (1992–94) and, notably, installed “Stretched Objects” (1995) in order to place everyday objects on the wall of the white cube as a panel painting. El-Hassan wrapped or stretched these objects to transform them into works of art. In the case of “Lighting Fruits” (1997), she used the opposite method: real apples and pears transformed the traditional genre (still life, nature morte) into a vivid installation.

In 1999, then, in a shift that ran counter to her earlier analytical approach to art, El-Hassan turned to political criticism and activism, focusing on the genres of public and participatory art movements. In that year she began the “I am Overpopulation” project, which is still one of her main preoccupations. Initially, she mounted public art events and produced photographs together with Milica Tomić; in these, the two artists ironically represented the capitalist individual as being subjected and reduced to numerical data. This conceptual change of perspective also came to pervade El-Hassan’s graphic art, especially her drawings, which increasingly became a sort of public political protest and a personal visual diary. Concurrently, El-Hassan’s making of objects has also been transformed, while the “R. is Thinking/Dreaming about Overpopulation” sculptures have appeared in different spaces as re-contextualized artistic alter egos. Her roughly carved sculptures made of wooden slats portray sitting and inward-looking figures that simultaneously represent the visual traditions of contemplation and lonely suffering. This technique only increases the sense of ambivalence, referring simultaneously to the visual culture of expressionism, neo-expressionism and amateur “sculptural” practice. One of the most significant performances of El-Hassan, “Blood Donation” (2001-2002), is also a part of the “I am Overpopulation” project. Moving westward, El-Hassan donated her (part-Hungarian, part-Arabian) blood to the victims of the war on terror in three different cities (Belgrade, Budapest, and Zurich). This project—for which she lay on a large photographic print of Yasser Arafat, who donated blood to the victims of 9/11—is connected to her own identity politics and the visual and political culture of terrorism.


1966 Budapest / HU

Róza El-Hassan graduated from the Painting Department at the Hungarian University of Fine Arts in Budapest (Hungary) in 1990. 1991 she was teaching at the Städelschule in Frankfurt/Main (Germany), and from 1991 to 1992 at the Intermédia Department, MKF. In 2002 El-Hassan was guest artist at the Collegium Helveticum, Swiss Federal Institute of Technology in Zurich (Switzerland). From 2003 to 2007 she was docent of the Intermedia Department at the Hungarian University of Fine Arts. In 2011 El-Hassan was awarded the title of Doctor of Liberal Arts at the Academy of Fine Arts in Budapest.

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