• 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
Raša Todosijević is one of the key Serbian artists who began working within a group of Belgrade conceptual artists like Marina Abramović, Era Milivojević, Neša Paripović, Zoran Popović and Gera Urkom in the early 1970s, long distinguished for his uncompromising critical political stance. During the 1970s and 1980s he executed projects that addressed the myths connected with the notion of artistic autonomy by perverting the Modernist “mission,” and by juxtaposing them with the local, ideological reality of emerging nationalism in Serbia and other parts of ex-Yugoslavia. With his Gott liebt die Serben project, which he began in the late 1980s, Todosijević intervened directly in the very discursive tissue of the political tumult in Serbia. Todosijević displays a particular, cynical nerve, and a sense of disillusionment. His practice influenced many people and projects on the territory of ex-Yugoslavia, including the Neue Slowenische Kunst collective.

1945, Beograd / RS, at that time Jugoslavija


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Raša Todosijevic, Braco Dimitrijeviæ, Joseph Beuys, Students Cultural Center, 1974
  • 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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