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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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Neša Paripović

Neša Paripović began engaging in his artistic practice as part of a group of artists who came together around the Student Cultural Center (SCC) in Belgrade, which was founded in 1971. The SCC was one of the key institutions from which Serbia’s new artistic practice emerged as a result of post-1968 developments. The Center facilitated debate and discussions among artists whose friendship influenced their common activities and who came to form the nucleus of conceptual art in Serbia. In addition to Paripović, this loose group of six artists included Marina Abramović, Era Milivojević, Zoran Popović, Raša Todosijević, and Gergelij Urkom. Each of them pursued their own artistic careers, and this group’s gatherings were informal yet essential in defining a rupture with traditional notions of art via radical emancipation from its formal confinements. Within this context, Paripović developed a meta-visual language about the nature of art and the status of the artist, a language that has manifested itself in photographs, posters, language works, films, and videos since the beginning of the 1970s.


The fact that the actual number of artworks realized by Paripović is rather limited can be attributed to the fact that the artist started off in a post-object phase, relegating the physical necessities of an artwork to the past—something Dejan Sretenović explains on the grounds that Paripović “still searched for a project appropriate to his artistic endeavor.” 1 Bojana Pejić, on the other hand, characterizes Paripović’s oeuvre as “asceticism, which, even though it sounds paradoxical, is based on hedonism.” 2 The inclusion of everyday life in the field of art entailed “dissolving the boundaries of qualitative differentiation between productive work and leisure, between spontaneous and symbolic forms of behavior, between mental and manual activities.” 3 Gauging the possibilities of how to operate within a certain social milieu moved Paripović to analyze the physicality of bodies and space, which produced results such as his seminal video work N.P.1977. The artist’s initials in the title signify a focus on his own persona—performing in front of lens-based media, but never “live” or vis-à-vis a specific audience. It is thus that notions of art’s ephemeral qualities become apparent in Paripović’s work, which has always relied on structuralism rather than on objectification. 

      

W.S.

 

Notes:

 

1 Sretenović, Dejan. Neša Paripović. Postajanje umetnošću. Radovi 1970–2005 / Becoming Art. Works 1970–2005. Belgrade: Museum of Contemporary Art, 2006, p. 79.


2 Cf. Pejić, Bojana. “Aktuelno: oldtamjeri [Of Topical Interest: Oldtimers],” in Moment, no. 15, Gornji Milanovac, 1989, p. 46.
3 Sretenović, p. 80.

1942, Beograd / RS, at that time Jugoslavija

Paripović graduated from the Academy of Fine Arts in Belgrade (Serbia) in 1969. He attended the master class of Krsto Hegedušić in Zagreb (Croatia) from 1971 to 1973. At the same time Paripović acted within a loose group of six artists (M. Abramović, R. Todosijević, Z. Popović, E. Milivojević, G. Urkom) gathered around the Gallery of Students’ Cultural Center in Belgrade. From 1975 to 1980 he was associated with the Group 143, dedicated to linguistic and semiotic investigations of art. In 1991 Paripović became a permanent collaborator of the Dah (Breath) theatre company in Belgrade. He was awarded at the 19th Nadežda Petrović Memorial Exhibition in Čačak in 1996.

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