• 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


Marcus Geiger

In his work, Marcus Geiger often uses domestic materials and painstaking processes that provoke ironic ruptures between the conceptual precision with which they are treated and the stereotypical image of a comfortable interior that they convey. He explores and demystifies the meaning of the artwork as a concept, disrupting the ways in which the art market attributes value. Geiger is also interested in the confrontation between space and art, in which space is considered broadly to include its social, cultural and political ramifications. His artistically empirical approach is based on an intelligible capability; he directs his perception onto the real-time level of sensory recognition.  

By way of disarmament and in a gesture indicating a déjà-vu, Geiger retreats from a restorative bourgeoisie, without bitterness or moralizing about the vanity of the world. He is not inhibited by philosophy; he replaces the myth of everyday life by the clear form of poetic language. If it is true that light changes the physical existence of the matter it hits since the latter transcends its state of being and is transposed to a higher level of totality, it must be possible to intensify the resulting phenomenon in relation to the color of the object, for example by changing from white to red on a color scale.   

In 1998, Geiger repainted the Vienna Secession red, thus transforming an architectural monument into a pictorial medium in an aura of demanding self-assertion and self-loving splendor. The work recalls one of Geiger’s first exhibitions. A milk carton painted red stood facing a Neo-Geo painting and prevented any auratization from occurring. Thus, Geiger disturbs expectations by means of temporary occupations.

For Berlin Biennale 6 in 2010, he inserted these concepts into the exhibition architecture. With maximum transparency and reduction to essentials, dialectical situations emerge in which individual works and the building interrelate in complex ways. For ten years, a building at Oranienplatz had stood empty. Geiger put together the leftovers from its restoration and from the setup of the exhibition to form a temporary installation in the attic. Thus, the artist probed the entire building and the Biennale from its margins, activating its history as well as its institutional conditions.



1957, Muri / CH

Marcus Geiger’s artistic focus lies in the area of object and concept art. He has been known for a number of site-specific interventions which challenge notions of space and institutions of art.


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  • Foto: Adam Savoky