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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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Slaven Tolj

The Croatian artist Slaven Tolj rose to international acclaim with his installations, body-art and performances, all of which mirror a distinctive political and sociocultural criticism. His initial steps as an artist were directly shaped by his experiences during the Yugoslav war, the collapse of the state and, in particular, the conquest of Dubrovnik by the Yugoslav army in 1991-92. In the late 1990s, Tolj gradually expanded his field of work by incorporating new motifs such as political change, multicultural existence and globalization. He is also active as curator and in various art organizations. He was, for instance, one of the founders of the Art Workshop Lazareti in Dubrovnik, which is now setting the tone in the contemporary art scene of Dubrovnik and Croatia.

In his works, Tolj primarily concentrates on the torn structure of Dubrovnik's society, his native town, where he lives and works. He calmly examines the relationships and remains of the war from his personal and reserved angle. Instead of producing documentary work and activism, Tolj considers it more appropriate to act indirectly; criticizing from the inside, in a way that the effect of said criticism on reality can only be difficultly assessed, even though the value of his oeuvre for the symbolic part of art is not questioned. The central motif of his work is avoiding direct language and images; he works by deliberately leaving aside and omitting things. Tolj places his work within the narrow borderline between the visible and invisible – by either choosing photography, installation, performance or the concrete as his media. The barely perceptible crack contained in his work adds energy to it, which – regardless of how personal it may seem – critically examines the political aspect of art or the concept of art for a broader audience.

M.S.

 

1964, Dubrovnik / HR, at that time Jugoslavija

 

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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