• 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.


Katalin Ladik

Katalin Ladik is a poet, actress, visual artist and performer. She began publishing her poems in Hungarian at the end of the 1960s, and she acted in Hungarian radio plays (1963–1977) and at the theatre of Novi Sad until 1992—at which point she moved to Budapest, where she lives today. The beginning of her activities in the visual arts is connected with her poetry performances. As part of her work on stretching the limits of poetry, she researched its phonic and visual possibilities and eventually concluded that the written word was not enough for her. In her interpretations of her poetry and texts, therefore, she would strive to perform in the sense of fictional narrativity and recognizable ritual allusions. That was how she first linked together her interests in archaic and avant-garde elements in music and art. As a woman author who uses her naked body in performance, she appropriated the montage principle in image and sound, emphasizing the relationship between voice and body in order to experience the physical aspects of the voice. And in a way that was critical and subversive, she exhibited her eroticized body in order to express her determination to behave honestly and freely in art and life. That, during the early 1970s, was a sign of liberalisation, a specific transgression of the “public” and the “private,” and it most certainly implied shifting the boundaries of freedom.

Since her work was multimedia in character, the beginning of the 1970s saw her participating in the visual arts, theatre and music scenes in connection with organizations including the Youth Platform (Tribina mladih) in Novi Sad, the theatre Atelje 212 in Belgrade, the Extended Media Festival (April Meetings) (Festival proširenih medija, Aprilski susreti), and the Avant-Garde Music Biennial and Genre Film Festival in Zagreb. She exhibited at visual poetry festivals (Utrecht, Amsterdam, etc.), participated in the “mail art” movement, and she also—owing to her expressive, self-reflexive and feminist performances—became widely known outside the gallery scene. She belonged to the “new art practice” and was a member of the conceptual group Bosch and Bosch from Vojvodina. She is one of the original protagonists of body art and performance in former Yugoslavia, and her role has been emphatically emancipatory. Her recent performances are described by Miško Šuvaković, author of the study Moć žene – Katalin Ladik (The Power of Woman – Katalin Ladik), as postmodern performances of the spectacle.




1942, Novi Sad / RS, at that time Jugoslavija

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  • Photo: Adam Sakovy