• 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


Milica Tomić

As one of the key artistic figures in Serbia, Milica Tomić employs video, film, photography, light, and sound installations in her work at the intersection of performance art forms.

The artist researches topics such as political violence, nationality, identity, and tensions between personal experience and medially constructed images. Within her defined focuses and by constructing new images, Tomić shows ways in which networks produce collective attitudes and values. Circumstances and mechanisms such as the transformation of individual experiences into collective memories, statements and ideologies of prevailing political discourses, violence-producing processes and the meaning of war are all reflected and subjected to questioning in her artistic works. Her analyses of situations and of ideological mechanisms, analyses that aim to ascertain the positions, instruments and vocabulary involved in the production of discourse, reveal new insights and conclusions regarding a complex network of relationships.

One of the works that provides a good impression of the artist’s working practice is the project “Container”, in which the criminal act that took place in northern Afghanistan was reconstructed and reenacted. Tomić points out that, in analyzing the process by which they reconstructed the crime that took place in northern Afghanistan, she and her colleagues realized that all the tools they had used to do so (buying a container, hiring professional police units to riddle it with bullets, the weapons and bullets themselves, etc.), as well as the simulated conditions, pointed to local involvement in a systematic, global network of violence.1 In identifying mechanisms for the construction and maintenance of hegemonic attitudes and representations, Tomić addresses acts that, in most cases, are forced by the state and by international organizations—which, for their part, define precisely these acts as being criminal according to existing laws. So Tomić muses as to how it would be if she, as an artist, reclaimed the right to question the state’s right to determine the narrative with regard to a crime, hence also reclaiming the right to proclaim, reflect upon, textualize, and determine what constitutes this crime.”2

Another important topic that Milica Tomić reflects upon in her works is the question of identity. As an artist born in a country that no longer exists, she analyses the processes of building and re-building identity and value systems, as well as the shifting of power structures and their centers of attention, in works such as “I am Milica Tomić” (1998/99) and “Façade Project” (2000).






1 Milica Tomić, Container, 2011, URL:, Accessed: 18 March 2013.

Analyzing the process of reconstruction of the crime happened in Northern Afghanistan, we realized that all the tools we were using to reconstruct this crime (buying a container, hiring professional police units to riddle it with bullets, weapon and bullets itself etc.), the simulated conditions – all point to the setting of a local participation in the system of global network of violence.”


2 Milica Tomić, Container, 2011, URL:, Accessed: 18 March 2013.

“What if I, as an artist, reclaim the right to question the state’s right over narration about a crime, and, therefore, take the right to proclaim, reflect, textualize, and determine what constitutes a crime?”



1960, Beograd / RS, at that time Jugoslavija

Tomic studied at the University of Arts in Belgrade (Serbia), where she graduated from in 1990. She is founder and member of the “Grupa Spomenik” (Monument Group). Tomic has received several awards, including the “Young Artist Award of the Ursula Blickle and Blickle Foundation” (Germany) in 2001, and the “AICA” in 2008.

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