• 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.


Edward Krasiński
Edward Krasiński's first works, created in the 1950s, were illustrations for magazines and surreal erotic drawings. His later sculptures were “flawed” by the use of color; found objects were combined with common, sometimes fragile materials such as rubber, wire and string. Krasiński then worked as a sculptor, painter and creator of artistic installations and happenings. His suspended sculptures often appear to defy gravity in their combination of invisible wires, visual puns and trickery. In the late 1960s blue scotch tape became Krasiński’s medium and trademark material. Since then the artist has used the blue stripe in his “axonometric drawings” and “interventions” from the 1970s and 1980s, as well as in numerous site-specific installations in museums. His practice made Krasiński one of the most important Eastern European artists of the second half of the 20th century.

1925, Łuzk / PL, at that time UA – 2004, Warszawa / PL


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
© Hanna Ptaszkowska and archive of Museum of Modern Art Warsaw, Photo: Eustachy Kossakowski
Browse All