• 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.


Karel Malich

Karel Malich is an example of an erratic personality, as critics often label artists who have been discovered after 1989 and have gradually been integrated into the history of modern art in the second half of the twentieth century. His work has often been read in the context of Constructivism, but today it is quite clear that its inclusion in that movement is merely conditional. At the same time, Malich’s work is legitimized by a spiritual source like Kandinsky and his occult contemporaries. Malich is presented on the European scene above all as a personality who radically changed the model of contemporary sculpture, dematerialized it, and connected it to the energy field of the widest cosmic space.

The kinetics of immaterial light energy in space, as was brought to art in the 1930s by Zdeněk Pešánek, creator of the first neon sculptures in modern art, was actualized by Malich in his wire objects. The sculpture became an energy event, created in a free space, never as a material fetish for a gallery. The linear constructions of his sculptures bear a latent kinetic potential, and depend on the behaviour of energy over time and change. We can follow the origin of his events in sketchbooks in which Malich systematically recorded his thinking from the 1960s to the 1980s.



1924, Holice v Čechách / CZ, at that time ČSSR

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
(c) the Artist
Browse All

  • (c) Mumok Vienna, photo Lisa Rastl