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  • 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/

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Paul Neagu

Paul Neagu began performing actions around 1968 in Bucharest. He placed his first palpable objects outdoors in the city streets, with some of the locations being in unexpected corners of town, and these objects engaged passers-by in an experiential sort of experiment that directly addressed the body and the senses. Upon getting to know the Scottish curator and gallery owner Richard Demarco, Paul Neagu’s life and career stood at a turning point. Following his participation in the 1969 exhibition Four Romanian Artists in Edinburgh at Demarco’s invitation, Neagu decided to leave Romania. The various actions and generative art projects produced during the initial British years that followed were strongly associated with Demarco’s gallery and the Edinburgh Festival, where he was introduced to the work of other Eastern European colleagues and of Western artists such as Joseph Beuys.

The exhibition Paul Neagu and his Generative Art Group, curated by Nicholas Serota and Sandy Naire, opened in 1975 at the Museum of Modern Art, Oxford and represented the finale of the fictitious and ludic art group that Paul Neagu had founded in 1972. Its imaginary members were painter Husny Belmood, designer Philip Honeysuckle, painter Edward Larsocchi, and poet Anton Paidola. The group operated as a “complete structure—a whole with its own life, a self-regulating system of suggestions and transformations” (Generative Art Group, London, 1974). The invention of the group advanced a highly intellectual and philosophical concept of generative art, underlining the complicated interplay of references based upon which Neagu’s artistic practice articulated itself. In keeping with his interest in Noam Chomsky’s theory of generative grammar and in the general systems theory of Ludwig von Bertalanffy, GAG became a conceptual and philosophical instrument that enabled the artist to move toward a spiritual exploration of man/cosmos relationships. GAG’s practice emphasized cross-mediality and various forms of expression (drawing, printed matter, object, performance, photography).

 

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1938, București / RO – 2004, London / UK

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
(c) Archive Paul Neagu
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