• 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


Edward Krasiński

Edward Krasiński's first works, created in the 1950s, were illustrations for magazines and surreal erotic drawings. In the 1960s Krasiński moved to Warsaw, where he met the many artists and art critics who established the Foksal Gallery in 1966 – among them Anka Ptaszkowska, who remained his avid supporter and friend through all of his life’s turns. Krasiński’s work at the turn of the 1960s into the 1970s is neither exactly minimalist nor properly conceptual: “suspended” or “linear” sculptures are flawed by the use of color; found objects – books, bottles – are mixed with fragile common materials such as rubber, wire and string; occasionally letters or sequences of numbers appear, making the work’s apparently clear geometric “cut” is a mere cheat. In the late 60s blue scotch tape became Krasiński’s medium and trademark material. The thin blue line running at the height of 130 cm was first pasted around trees and across pigsty walls in the village of Zalesie near Warsaw, but soon it stretched across gallery windows on the Paris Rive Gauche. 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, galleries and various other private and public spaces.

Krasiński was a close friend of Henryk Stażewski, the nestor of the Polish avant-garde. This witty and independent figure invited Krasiński to share his studio and apartment on the thirteenth floor of a socialist housing block in the center of Warsaw. Krasiński continued to live in the apartment after Stażewski’s death in 1988. Inhabited and “directed” by Krasiński, the apartment underwent constant artistic transformation, a changing “mise en scene” of sculptures, photographs and found objects. Occasionally Krasiński would invite some friends in order to share his new ideas and jokes with them, deceiving them slightly and then endeavoring to get them out of the apartment again.


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

Krasiński studied Interior and Graphic Design at the Arts and Crafts School in Krakow (Poland) from 1940 to 1942. In 1954 he moved to Warsaw (Poland) where he lived and worked until his death. Krasiński’s first exhibition was shown at the Krzysztofory Gallery in 1965. In 1966 the artist was one of the founders of the Foksal Gallery in Warsaw.


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