• 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


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

Todosijević studied Painting at the Academy of Fine Arts in Belgrade (Serbia), from where he graduated in 1969. He has received several awards, including the “ArtsLink 2004 Award”, the “IASPIS Residential Award 2001” in Stockholm (Sweden), and the “2009 Politika Award”.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Media File
Browse All