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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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Sven Stilinović

Sven Stilinović was still a schoolboy when he started exhibiting with the Group of Six Artists on the streets of Zagreb in 1975. He was not impressed by photographic conventions he learnt at the School of Applied Arts. On the contrary, he was ironically subverting all procedures that he learnt with each and every photographic work he made in that period. Photographic enlargements of small collages in which he recycled fragments of older photographs and tiny objects, as well as series where photographs of garbage interchange in a photographic sequence with photographs of cluttered shops raise the issue of photographic motif, while in Comparison of the development of painting and non-development of photography (1975) he concludes that that which is offered as a history of photography does not lead to its openness and creativity. Distinct feature of his character as well as his art is resistance to all requests and laws of the system. He opposed to all forms of ideology, and mocking at and confronting the power with its own symbols is typical of many of his works: he painted a flag only in black and white relation (1983), cobbled it together with boards (1984-85) and assembled it from disposable shaving razors, from cotton wool (1984-85). Frequent references to Bakunin and his predecessors, Proudhon and Stirner, as well as De Sade, and quoting them in his works reveal a libertine tradition embraced by Sven. His “non-politicality” was political in an anarchistic sense. Proudhon’s idea of “no state, no power, absolute freedom of man and citizen” is reflected in his work. Sven Stilinović especially liked to juxtapose his photographs with the texts from anarchistic thinkers, which emphasise the autonomy of personality stressing revolt as a natural creative negation which cancels all forms of alienation and affirms the innate dignity of man and his wish to realize himself completely in his work. He is prone to researching various things so his work varies from paintings of weapon to expressive installations and performances where he uses animal bones and organs.

 

B.S.

1956, Zagreb / HR, at that time Jugoslavija

 

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