• 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


Anna Daučíková

Anna Daučíková entered the Slovak art scene in the 1990s as one of the first artists to deal directly with feminist issues and the queering gaze in post-socialist rhetoric, being “interested in casting doubts on gender stereotypes, or on white spots in issues of gender and sexuality.”1 Having lived in Moscow during the 1980s, where she was concerned with abstract painting and then began to photograph daily life and its people in the late Soviet era, her approach to gender theory came together mainly after her return from there. It was in 1993 that Daučíková, as an artist and activist, became involved in Slovakia’s first feminist magazine Aspekt (which was meant to be a joint Czech-Slovak endeavor), publishing texts by international authors and theorists who took a clear stance against any notions of heteronormativity.

Having been active mainly in the video medium since the mid-1990s, Daučíková has opposed the misogynist stance prevalent in her country. Her output addresses the nuances of perceiving the Other in female relations as well as how artistic manipulations are possible with respect to bodily desire and gender-coded situations, placing doubts about sexuality on the same level as doubts about political demeanor.


Daučíková’s videos frequently show extreme close-ups of body parts and bodily gestures; such images are full of sensuality and often leave it up to the viewers to discern their contents before an overall shot of the scene is revealed. Quite often, these scenes have no explicit gender roles attributed to them—for which reason it is unclear whether the actions take place within a heteronormative matrix or in an LGBTIQ context. Many scenes leave it up to the beholder to determine specific gender relations. Through this openness, Daučíková’s works represent acts that are emancipatory in a political sense, as they do not presuppose any sexual or gender-specific model of behavior. They operate independently of any fixed notions of sexuality and free the body from any physical or mental restrictions.




1 Jana Geržová. “Art and the Question of Gender in Slovak Art.” in: Gender Check: a Reader: Art and Theory in Eastern Europe. Bojana Pejić (ed.), Cologne: Walther König, 2010, p. 317.




1950, Bratislava / SK, at that time ČSSR

Anna Daučíková is the first Slovak feminist and queer female artist. Her work is focused on the notion of political body as an intercross of power relations. Since 2011, she has been professor at the Academy of Fine Arts in Prague.



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