• 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


Ulrike Lienbacher

Ulrike Lienbacher is interested in the body as the medium of an individual, socio-cultural history from which the values and norms of a society can be read off directly, values such as those ascribed to purity or cleanliness (associated with order) and dirt (associated with disorder and menacing danger). In her drawings she addresses the (exclusively female) body with precise lines limited to contours, stereotypical figures put onto the white paper. Lienbacher draws young women in a variety of poses and gestures as they go about intimate routines—washing themselves, combing or drying their hair—or in their underwear. The bodies of these women, some of whom are naked and girlish, are often fragmented. All eye-contact is avoided; even when the figures are portrayed with their heads, they are looking away from our gaze, consistently creating the effect of a subtle, erotic interplay of absence and presence. Lienbacher  trains her critical view on the discourse pertaining to hygiene and health, how we relate to filth and cleanliness, and the cult of fitness and wellness.Thus she establishes a formal contrast between her reduced, “clean” flowing lines, reminiscent of classicistic shapes (albeit intentionally fractured), and the “impure” (“abject”), meticulously extracted motifs.

Lienbacher’s range of artistic media encompasses sculpture, drawing, photography and video; she employs all of these to deal with her main theme, that of the human body. The artist succeeds in packing her sharply perceptive diagnosis into dense and abstracted forms. Her art condenses the cult of the body and product fetishism, discipline and the pleasure principle, heteronomy and autonomy, the pressure to perform, and self-forgetful autoeroticism in a highly complex manner. Lienbacher links and transforms these respective categories in order to capture them on the aesthetic level in an object or an image that tells of these experiences while also transcending them.




1963, Oberndorf, Salzburg / AT

Lienbacher studied Sculpture at the Mozarteum University in Salzburg (Austria) from 1981 to 1987. She has received the "Großer Kunstpreis des Landes Salzburg“ in 2000 and the "Förderpreis für Bildende Kunst, Bundeskanzleramt, Wien“ in 2001.


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