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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/

Artists

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Dalibor Martinis

Dalibor Martinis, one of the pioneers of media art in this part of Europe, has since the late 1960s dealt with communication in public spaces as well as with the system of signs that facilitates this communication.

Communication in public spaces and the system of signs that facilitates this communication are the fundamental problems that Martinis has been dealing with since the late 1960s and his early performances during his studies at the Academy of Art in Zagreb (Module N&Z, 1969, Triangles, 1971.) 

Whether he uses modern media–it is important to emphasise that in the early 1970s Martinis, along with Sanja Iveković and Goran Trbuljak, did pioneer steps in the area of media art within the Central European context–or he uses motionless pictures“ and “counterfeits” of traditional methods, Martinis systematically examines the truth and lies, unique and surrogate, real and virtual, nature and technology, manipulation and recontextualisation, commonly using a kind of coded message hidden behind the iconic surface.

N.B.

 

1947, Zagreb / HR, at that time Jugoslavija

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Podroom, Zagreb 1978
Works
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