• 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


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 Dalibor 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, Dalibor 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.


1947, Zagreb / HR, at that time Jugoslavija

Martinis graduated from the Academy of Fine Arts in Zagreb (Croatia) in 1971. He was lecturer at the Drama Academy in Zagreb from 1987 to 1991, and guest lecturer at the Ontario College of Art in Toronto (Canada) in 1991. Since 2008 Martinis teaches at the Academy of Applied Arts in Rijeka (Croatia). He works as transmedia artist and video maker. Martinis has received several awards, including at the Tokyo Video festival, Tokyo, Japan (1984), in Locarno, Switzerland (1984), and at the Alpe Adria Film festival in Triest, Italy (1996).

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