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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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Ivan Kožarić

Already in the late 1940s, Ivan Kožarić became one of the central artistic figures in the post-war avant-garde movement of the former Yugoslavia. The central motif of his early sculptures from the 1950s is the human figure. At the same time, Kožarić also started to experiment with abstract shapes and ideas, replicas of urban cavities and voids—negative volumes that were transformed into positive forms. Kožarić was known for having flexible, open views and for striving to radicalize the very concept of art. His oeuvre extended out in many different directions. His instructions for projects were poetic and emphasized the concept of (Zen-like) emptiness, the absurdity of existentialism and the anti-art propagated by the members of the Gorgona group (1959–66). Kožarić constantly questioned his achievements and remained unbiased towards his own work.

1921, Petrinja / HR, at that time Jugoslavija

 

 

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  • Foto: Adam Savoky
  • Foto: Adam Savoky
  • Photo: Adam Šakový
  • Photo: Adam Šakový