• 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.


Raša Todosijević

“The way in which an artist asks a question about art is a work of art.” (Raša Todosijević)


Raša Todosijević is one of the key Serbian and ex-Yugoslav artists who began his career within the circle of Belgrade conceptual artists in the early Seventies distinguished up to now by his uncompromising political-critical artistic stance.

The literal meaning of the question „What is Art?“ is confronted with the absence of its performative impact by way of the automatism of repetition, the indefinite recurrence of the same question which in Todosijević’s commanding speech stood for an (elocutionary) verbal act related to the question, which, nonetheless, exceeded its limits. The transmitter received his own message from the passive receiver – the other is just the decentralized place of the subject of speech, the medium for creating the circle of repetition, a mirror that reflects a Cartesian suspicion of the fundamental principals of the institution of art. The silent model that courageously submits to torture brings to memory the passively-masochistic attitude of a citizen who in a totalitarian regime loses his will and thus contributes to maintaining the repressive apparatus, whether being a victim or a witness. This ”to be heard-to-speak” (J. Derrida) turns Todosijevic into a kind of despotic phonocentric machine that serves as a general metaphor for the connection of a totalitarian discourse with the institution of art. But, since there’s no response on what art is, we become aware that the idea of the performance lies in the inversion of power relations within the art system. If semantics of a speech act includes part of its pragmatics, than Todosijevic’s aim is to empower the speech position of an artist who claims power to control his own discourse, depriving the art system of its authority to define art. About this performance Todosijevic has some time ago said: “My performance is not based on the wish to demystify anything, it rather seeks to irritate an individual by addressing his or her negative side in order that he or she becomes aware of it – your anger after the performance is that negative side of you.”



1945, Beograd / RS, at that time Jugoslavija


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Jasna Tijardovic, Zoran Popovic and Rasa Todosijevic at Lutz Becker's exhibition 'Tate on Hot Bricks'in Student Cultural Center Gallery, Belgrade, 1976
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