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  • 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 http://lentos.at/html/en/4747.aspx

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Ion Grigorescu

Romania of the 1970s, in which Ion Grigorescu starts his highly original and unexpected endeavor, is a world of complex and almost ubiquitous trauma. The ideological opening at the end of the 60s - beginning of the 70s is replaced by a new path towards enclosure, this time under a new ideological frame combining mythical and isolationist nationalism with the imperatives of total and radical modernization. Simultaneously, the hierarchical social oppression, based on the model of a leadership controlling the victimized masses is refined by a horizontal form of surveillance coming from inside - the informers reporting their pairs. In this context, of an enclosed, fractured and shifting society, in which uncertainty ranges from cultural models and ideology to inter-human relations, Grigorescu comes with his fascinating artistic responses articulated in a very personal aesthetic universe. Despite their variety and relative fragmentation, the intellectual sources of his work (the conceptual art of the 70s - which he managed to access in the short period of the country’s opening -, psychoanalytical theory, Romanian spiritual tradition, etc.) are thoroughly integrated, explored and questioned by his creative and utterly free spirit.  With a high availability to formal experiment, Grigorescu observes and signifies into his particular analytical system virtually all the aspects of reality, from the limits of his own corporality to the disintegration of the society surrounding him, from the material effects of this chaos – manifested in the urban and social structure of his city – to metaphysics.

C.C.

 

1945, București / RO

Ion Grigorescu studied at the Academy of Visual Arts in Bucharest (Romania). After his graduation he worked as a drawing teacher in Busteni and Bucharest until 1979. Grigorescu’s experimental photo projects from 1971, “Naştere” (t: Birth) and “Hommage a Francis Bacon” are considered to be forerunners of Romanian Body Art. Between 1982 and 1990 he worked as restaurateur and replicator of church frescoes. In his most recent works Grigorescu has been using new media techniques such as DVDs, scanners and digital cameras.

 

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