News

  • 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. http://en.ghmp.cz/exhibitions/probe-1-the-story-of-slovak-post-conceptual-art/

Artists

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Július Koller
In his singular artistic practice starting in the early 1960s, Július Koller has deliberately multiplied and varied his works, dignifying worthless objects of common use with his personal signature and thus undermining the art world’s principles and rules or commodity, indicating a field of operation related to the negated sphere of art in to show possible alternatives to it. Repeatedly recurring motifs—the question mark, plus and minus, up and down, nets, sport pitches, ping-pong and tennis balls—create an expressive instrumentarium in a spectrum of simple and mutually connected symbols, employed not only to encipher but also to open up the world’s many significant components. Starting in 1970, Koller became the subject of a series of annual portraits known as “U.F.O.-naut J.K.” Koller’s strategy of using real objects, the real world, and everyday life as a given program for displacement gained particular attention; a strategy intended to put an end to aesthetics and to create a “new cultural situation,” resulting in a “new life, a new creativity, and a new Cosmohumanist Culture.”

1939, Piešťany / SK, at that time ČSSR – 2007, Bratislava / SK

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Milan Adamciak at U.F.O. Ganek Gallery (with Július Koller, left), October 1982, 
Photo: Pavol Breier, Bratislava
Works
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  • Photo: Květoslava Fulierová








  • Photo: Milan Sirkovský
  • Photo: Milan Sirkovský
  • Photo: Milan Sirkovský










  • Photo: Milan Sirkovský

  • Photo: Milan Sirkovský
  • Photo: Milan Sirkovský





  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Sakovy

  • Photo: Adam Sakovy
  • Photo: Adam Sakovy
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky




  • Photo: Adam Savoky














  • Photo: Milan Sirkovský
  • Photo: Milan Sirkovský





  • Photo: Adam Sakovy
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky
  • Photo: Adam Savoky