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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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Zbigniew Libera
Zbigniew Libera’s early work simultaneously investigated the distinction between existence and art in a piercing, subversive way, playing with the stereotypes of contemporary culture, and tackling the adaptation, communication and absorption of role models. The artist’s radical “heresy” of the 1980s was a unique marriage of the spiritual and the critical. Around 1985, Libera, along with Jerzy Truszkowski, Barbara Konopka and Jacek Rydecki, formed a kind of artist’s commune. They painted together, played in the punk-rock band Sternehoch and conducted artistic activities with the patients of a psychiatric clinic where Libera was employed as a nurse. Libera’s practice then oscillated between Kultura Zrzuty [Chip-In Culture], embarrassing art, gnosis and counter-culture. Libera also stood in as a model for Zofia Kulik’s famous photographic collages, which framed his search for subjectivity during the 1980s.

1959, Pabianice / PL

 

 

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