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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/

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 therealization of the Subsistence Level Standard Project 1984 W (SLSP1984W). It was introduced bya 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, exceededby 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 inthe late 1970s. IPUT organized the first Non-art-art Strike at the Musée Rath, Geneva in1980. In 1987 St-Aubsky opened the Ruine (Ruin) Gallery based on the theory and practice of “Noprofile, No professional, No profit”, which was operated in a ‘heterarchic’ manner (the exhibitingartist 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).

D.H. 

1944, Fót / HU

 


 

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