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  • 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. http://en.ghmp.cz/exhibitions/probe-1-the-story-of-slovak-post-conceptual-art/

Artists

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Natalia LL

Since the 1960s, the photo and video works of Natalia LL have revolved around the role of the body as a cultural signifier for the construction of artistic versions of reality relating both to the vulnerability of physical representation and to the desire to create bodily narrations in mythical situations.

Being married to photo artist Andrzej Lachowicz, Natalia LL has since the 1970s used the first letters of her officially registered last name, Lach-Lachowicz, to create a trademark as well as an artistic persona for all her visual appearances. This artistic strategy is in keeping with the increasing commoditization of products that has taken place since the 1960s, as well as with the theories of writers such Marshall McLuhan, who saw the onslaught of product placement in the media as a  precursor of Western image ideologies. On an artistic level, however, this trope is not meant merely to turn the artist into a product; it much rather relates to Marxist theories. For Marx, commoditization is assigned to something not previously considered in economic terms which, in this case, relates to artistic thoughts, identity formations and representations of gender. Natalia LL’s strategic positioning puts her in line with fellow artists such as VALIE EXPORT, who drastically altered her real name for the sake of artistic representation in order to engage in performance and create media art focusing on the subjectivization of the female body within a male-dominated society. 

From the very beginning of her artistic career, Natalia LL used her own self in combination with various props and prostheses in order to relate to the changing parameters in terms of which issues of the body and the body’s representation as a mythical and sexual object/subject are treated in contemporary visual practices. Focusing on the media of photography and film, Natalia LL’s work questions the ontological aspects of bodily representation, which visual output oscillates constantly between reality and fiction, between what is culturally significant, concealed or unmasked.

W.S:

1937, Żywiec / PL

 

 

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