• 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.



Neue Slowenische Kunst (New Slovenian Art) / NSK in its structure is a simple and yet complex mechanism which makes any precise explanation impossible. NSK began operating in 1984 as a large collective, an organization, a union of various groups brought together by their shared way of thinking and similar style of expression through different media. The main NSK groups are Laibach, Irwin, Noordung, New Collectivism and the Department of Pure and Applied Philosophy. There are also a number of flexible subdivisions which emerge as the need arises and dissolves under their own inertia. Each of the groups primarily works within its own medium; nevertheless their bonds are firm and fruitful. Members of the group meet on a regular basis, they talk, discuss and plan major common campaigns, test aesthetic and other preferences, exchange ideas and contexts, travel together, and so on.


Laibach began working in 1980 and was mainly oriented to the popular music media, although it was associated with different levels of work from the beginning, including gallery and theatre installations. The Irwin artists group formed themselves within the function of NSK biographers, recording NSK archetypes on canvas and in history. The Noordung Theatre (formerly Red Pilot and the Scipion Nasice Sisters Theatre before that) assumes ritualistic NSK contexts and also operates with religious patterns.


Beside these three groups the most active within NSK are the New Collectivism Design Studio and the Department of Pure and Applied Philosophy. The former obviously works with design (posters, records, covers, books, etc.) and the latter mainly with critical aspects of classic philosophy.


In spite of their links each of the groups works according to its own internal logic, its rules and principles of work, whereas they are connected by certain contextual and formal aspects, and this aspect is what forms NSK.     



artist collective since 1984, Ljubljana / SL, at that time Jugoslavija
Please follow this link for a selected bibliography available at the ERSTE Foundation Library
A group portrait of NSK members and guests (left to right Dušan Mandič, Roman Uranjek, Chrissie Iles, Andrej Savski, Borut Vogelnik, Aleš Prijon,  Ivan Novak, Dejan Knez, Ervin Markošek, Darko Pokorn, Martina Soldo, Miran Mohar and Dragan Živadinov) in front of the model of Tatlin’s Tower from the Scipion Nasice Sisters Theatre production Retrogarde Event Baptism under Triglav, 1986. Photo Marko Modic
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  • Photo: Adam Sakovy