• 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.


Šejla Kamerić

Šejla Kamerić belongs to the generation of Sarajevo artists who grew up in the war under three-and-a-half year’s long siege and shelling of the city. This biographical fact has much determined the attitude of this artist, as well as her understanding and practicing art.

Learning about life in the cruelest manner and knowing how to transform what she has lived through into art is the essence of Kamerić’s work. There are two essential points in her work are:

- Personal viewpoints based on common experience about the outside world: hot issues of the local society related (or in opposition) to the actual worldwide moral, socio- political subjects. 

- Self-reflections based on personal experience about the existential values: surviving the siege and shelling of her city she learned the fine line between life and death, to separate the essential from the unimportant, to recognize the hierarchy of needs.

It means that for Kamerić art is not the goal, but the means for self-identification - communicating own experiences, memories, and opinions - which she wants to share with or confront others.

What makes Kamerić (and the group of “war generation” artists) essentially different from “other members of their generation” is the meaning of their works, and not the means they use. Furthermore, by getting on with her work without worrying about what art really is, or isn’t, she proves to be a member of that generation born in mass-media age, in which the main references are the media and the reality around them, and not the history of art.



1976, Sarajevo / BA, at that time Jugoslavija


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
(c) the Artist 2018, photo Edvin Kalic
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