• 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


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 behavior 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

Malich studied at the Pedagogical Faculty of the Charles University in Prague (Czech Republic) from 1945 to 1949, and at the Academy of Fine Arts in Prague from 1950 to 1953. From 1990 to 1991 Malich was professor at the Academy of Fine Arts in Prague. He started his artistic career at the turn of the 1940s and 1950s, focusing on landscape painting depicting the region of his native village of Holice (Czech Republic) in the beginning. Gradually Malich turned more and more to abstraction and geometry. In the 1960s he changed from painting to collages. At the same time Malich also executed his first spatial models of clouds and three-dimensional wire sculptures.

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