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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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Dorit Margreiter

Since its earliest beginnings, the artistic project of Dorit Margreiter has been about dealing with modernity, with all its utopian promises, aesthetic legacies, and diverse narratives. Margreiter finds her themes where modernity has been reformulated and redefined, where its former potentials are absent, and where new forms and new sociopolitical spaces—in the broadest (including media-related) sense—have subsequently arisen. In her precise and subtle works, Margreiter examines functions and effects in the media, film, advertising, and consumer goods industries as modernity’s machines for change and with regard to their inherent myths. She follows this processual transformation while simultaneously grappling with associated present-day contexts and the new meanings with which they are charged. In this, an important aspect is that Margreiter’s description of her own work “emphasizes generative as well as reactive, productive rather than retrospective,” as Penelope Curtis points out.1 Margreiter’s artistic methodology therefore also corresponds structurally with the approach taken in her investigations: her work encompasses the genres of sculpture and architecture as well as the media of film, video, photography, and typography. She deals with historically diverse models: film is interlaced with architecture, such as in her works addressing modern architectural icons such as buildings in Los Angeles (some of cinematic fame), or in works pertaining to the pavilion by Josef Hoffmann in Venice as well as to present-day shopping malls and the architectural settings of television series. “Margreiter’s artistic project is genealogical in nature and at a remove from agendas that seek to identify, archeologically as it were, the origins of aesthetic modernism. In contrast to telological narratives, the artist charts a model of reconstruction that focuses on the effects of power revealed in the fabric of historical contingencies and conflicts…” (André Rottman2)

 

S.E.

 

Notes:

1 Penelope Curtis, “The Naming of Parts,” in Dorit Margreiter. Description, ed. Lynne Cooke, (Madrid: Centro de Arte Reina Sofía, 2011), p. 113. Exhibition catalog.

2 André Rottman, “The Artist as Toplogist”; in: ibid., p. 108-109.

 

1967, Wien / AT

 

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