• 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


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 theater 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 liberalization, 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, theater and music scenes in connection with organizations including the Youth Platform (Tribina mladih) in Novi Sad, the theater 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

Ladik is a poet, performance artist, and actress. She studied at the University of Economics in Novi Sad (Serbia) from 1961 to 1963. From 1964 to 1966 she visited the Dramski Studio acting school in Novi Sad. Ladik joined the newly established Novi Sad Theatre in 1974, being a member of its permanent ensemble from 1977 to 1992. She was part of the Bosch+Bosch group, who was active in Subotica (Vojvodina) from 1969 to 1976.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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  • Foto: Adam Savoky