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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/

Artists

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Edward Krasiński

Edward Krasiński was born in a Polish aristocratic family. In 1939, after the Soviet invasion of Poland, the family fled to Cracow, where Krasiński attended the German State School of Applied Arts. His first works, created in the 50s, were illustrations for magazines and surreal erotic drawings.

In the 60s 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 decade into the 70s 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 70s and 80s 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.

His work was shown in many museum exhibitions including a solo show at the Kunsthalle Basel in 1996, a retrospective exhibition at Warsaw’s Zachęta Gallery in 1997, Manifesta 3 in Ljubljana (2000) and “Beyond Preconceptions: The Sixties Experiment” (various venues, 2000/2002) as well as in various gallery shows in Europe and the USA.

 

A.S:

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
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  • Courtesy Badischer Kunstverein