• 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.


Tomislav Gotovac
Tomislav Gotovac, who later changed his name to Antonio Lauer, was a film director, conceptual artist and performer. From the early 1960s on he introduced social themes in his work that he approached critically, using a contemporary language with a radical formal attitude, emancipatory yet libertine, anarchic, which had not been seen before in the region. Gotovac authored the first happening in Zagreb in 1967, and the first instance of streaking in Belgrade in 1971, as well as various photographic series, which he presented as movie sequences or as documents of his performances. In the process, Gotovac came to accumulate a huge archive of everyday objects that formed the backdrop for his formal experiments.

1937, Sombor / RS, at that time Jugoslavija – 2010, Zagreb / HR


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Collection Sarah Gotovac / Tomislav Gotovac  Institute
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