• 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


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. Denisa 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

Denisa Lehocká studied at the Academy of Fine Arts and Design in Bratislava (Slovak Republic) from 1990 to 1996.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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  • © National Gallery of Kosovo, Photo: Enver Bylykbashi