• 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.


Denisa Lehocká

“Spatial collages,” as Denisa Lehocká calls her works, resemble building sites, scenes conditioned by a place and given situation. Rather than activating any political or psychological subjects, these works by her animate the essential perception of self. They envisage the viewers’ physical movement in space; an act of active perception. This movement unfolds along the vertical and horizontal planes, reminiscent of walking in the open country. French philosopher Maurice Merleau-Ponty has written that the eye is an organ that is not isolated from the rest of the body, but rather observable by us via our sense of touch. A given scene’s constellations project the dynamic relationships between detail and whole, micro- and macrostructures. The material elements, drawings, objects, and drawing diaries are arranged in meticulous meta-compositions, much like words in sentences. It is as if the artist had impressed emotional patterns onto space. The objects on the floor need not be physically heavy; they are still burdensome. The objects high up in the air need not be physically light; nonetheless, they float with ease. The suspended objects balance out the inquietude on the level of the horizontal order. The table is a boundary. What lies beneath diverges, hides, and rearranges itself. The viewer’s perception is confronted with the structure of shapes—soft and hard, angular and rounded, sharp and blunt, regular and amorphous, concentric and diffuse, layered and voluminous, open and closed. They “stitch up” the space from the floor all the way to the ceiling. Though her works seem static and taciturn, they encompass both movement and stasis, concentration and release, inhaling and exhaling. Each thereby forms a narrative sequence or series of lyrical episodes made of sets and subsets that constantly either permeate or are permeated, are entered or exited, expand or wane. Emotions are controlled by the use of primary colors, by contrasts between shapes, and by the dominant whiteness of the plaster. Lehocká not only counterbalances post-media-centered contemporary art, but can also draw on her thoroughness to amplify that position. Moreover, she refrains from using conventional titles, leaving the thematic dimension of her art open to interpretation.   



1971, Trenčín / SK, at that time ČSSR

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