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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

Artists

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Tamás St. Auby

Tamás St. Auby (also known as Tamás Szentjóby, Staub, Stjóby, Stauby, Emmy/Emily Grant, St. Aubsky, T. Taub, Turba, St. Ruby etc.) began his non-art-art activity with the end of his art activities – in 1966 he wrote his „last metaphysical poem“. Since then, he has created an extensive oeuvre made up of actions, happenings, objects, concrete/visual/action-poems, images, compositions, sculptures, photos, videos, mail art, email art, etc. Disseminating happenings and Fluxus he deems himself a Neo Socialist Realist.

St. Auby founded the International Parallel Union of Telecommunications (IPUT) under the cover-name of Parallel Course / Study Track in 1968 in Hungary. The aim of IPUT is the realization of the Subsistence Level Standard Project 1984 W (SLSP1984W). It was introduced by a lecture in 1975 in the Budapest Club of Young Artists, entitled Make a Chair! – Hommage à George Brecht and was based on the mutation of “non art as art” according to Marcel Duchamp, exceeded by Fluxus artist George Brecht to “non-art as art as non-art-art”. In 1974, St. Auby was arrested for participating in the Samizdat movement in Hungary. In 1975, he left Hungary and settled in Geneva due to his dual Hungarian-Swiss citizenship. There, after long years of illegality in Hungary, the headquarters of IPUT were reopened.

 

Following the Hungarian State prank IPUT moved back to Hungary in 1991, where it opened the Near-East-European Homogenous Affiliate from where it controlled the phase of the Myth-Correction.

IPUT also founded other parallel institutions, such as the Near-Eastern-European Free University for Unemployed Western Europeans with Astronomy-, Rock & Roll-, and St.rike- faculties in Geneva in the late 1970s. IPUT organized the first Non-art-art Strike at the Musée Rath, Geneva in 1980. In 1987 St-Aubsky opened the Ruine (Ruin) Gallery based on the theory and practice of “No profile, No professional, No profit”, which was operated in a ‘heterarchic’ manner (the exhibiting artist was his/her own gallery manager).

After his return to Hungary, St. Auby opened the Neo Socialist Realist IPUT’s Global Counter-Art History Falsifiers Front in the name of Myth Correction in 2001. In 2003 he realized the Portable Intelligence Increase Museum - Pop Art, Conceptual Art and Actionism in Hungary during the ‘60s – 1956–72, an archive including about 70 artists and art-groups’ digitized works with more than 1200 items.

Since 1991, Tamas St. Turba has lectured at the Intermedia Crèche of the Hungarian University of Fine Arts Budapest under the title Parallel Course / Study Track II. – Anatomic Immortality (or the difference between the Catholic M. Duchamp and the Protestant G. Brecht).

1944, Fót / HU

Tamás St. Auby began as a poet and cartoonist before becoming a neo-social realist. In the summer of 1966, together with Gabor Altorjay, he organized the first happening in Hungary, then in 1968 he founded the ´International Parallel Union of Telecommunication´ (IPUT), which he superintends.


 

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