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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/

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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.

K.R.

 

1957, Muri / CH

 

 

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  • Courtesy HDKW, Berlin

  • Photo: Adam Sakovy