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  • 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 http://lentos.at/html/en/4747.aspx

Artists

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Tanja Ostojić

The issue of the power relations prevailing in society, the effects of these on everyday life, and the positions from which various groups must start form the thematic emphasis of Tanja Ostojić’s artistic work. The artist employs a wide range of media to make a theme of the situations and perspectives of socially disadvantaged protagonists; in doing so, she pays particular attention to the perspective of women with migratory backgrounds. The artist herself acts as the main protagonist in her performances. Ostojić uses the artistic strategies of parody, provocation and irony to trace the ills of present-day society.

In her work “Looking for a Husband with an E.U. Passport”, she placed an advertisement with the same title and subsequently exchanged over 500 letters with numerous suitors from all over the world. She eventually married one of these contacts in order to receive a visa for Germany and be granted residency there. She remained together with him for 3 ½ years, the length of time that the law required her to be married to an EU citizen in order to remain in Germany—and then promptly organized a “Divorce Party.” Ostojić makes public that which politics and society are fond of sweeping under the rug. She shows the parallel worlds of EU residents and the legal framework’s enormous norm-enforcing power, which hinders other human beings’ participation in society and severely limits their range of available options. In her interdisciplinary project “Naked Life”, Ostojić researched the mechanisms of discrimination that have been used against the Roma and Sinti ethnicities for many years. The racist attitudes associated therewith stigmatize their members, robbing them of the ability to make their voices heard and participate in decision-making processes. By reading from the “Written Comments of the European Roma Rights Center Concerning Germany for Consideration by the United Nations Human Rights Committee at its 80th Session,” which contains reports on the fates of Roma families, the artist set out to express the helplessness and humiliation that such fates entail. Suzana Milevska wrote: “The expelled, the displaced, the ghettoized, the imprisoned, the immigrated, the war refugees and the Roma: all these marginalized and excluded people treated as ‘homo sacer’ are subject of Tanja Ostojićs interest.” Since then, the artist has gone on to deal with issues such as how the art system’s selection mechanisms function and how the output of individual artists is chosen and evaluated.

 

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1972, Užice / RS, at that time Jugoslavija

Ostojić is an independent performance and interdisciplinary artist. She studied art in Belgrade (Serbia) and Nantes (France) and is MFA diploma holder. Ostojić has received the “Berliner Senat working stipendium for Fine Arts” (2007) and the “Köstlin Jubiläum Stipendium” from the Schering Stiftung (2008). She contributed to a number of books and has recently published “Integration Impossible?” as well as “The Politics of Migration in the Artwork of Tanja Ostojić”, together with Marina Gržinić.

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