• 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


Goran Trbuljak

Goran Trbuljak, a conceptual artist, photographer and cinematographer, embarked upon his career in the late 1960s. He was interested in the idea that anyone can be an artist, in the notions of authorship and an artist’s anonymity, in originality, and in the context of art—especially the mechanism of the gallery, which defines an artwork’s specific status. Four posters, respectively entitled “I do not wish to show anything new and original” (Student Center Gallery, Zagreb, 1971), “The fact that someone has a chance to make an exhibition is more important than that what will be exhibited at that exhibition” (Gallery of Contemporary Art, Zagreb, 1973), “With this exhibition I show the continuity of my work” (Studio of the Gallery of Contemporary Art, Zagreb, 1979), and “Retrospective” (Salon of the Museum of Contemporary Art, Belgrade, 1981), serve to represent Trbuljak’s four solo exhibitions (which featured posters and nothing else) and provide what is probably the clearest indication of his artistic strategy during the 1970s. He studied the artistic context in order to demystify the “institutions of art” and act subversively within the system of culture. His works have taken various forms: visiting cards he left to art gallery owners, questionnaires that had to be filled in, and even a referendum (in Zagreb, 1972) in which the people in the street had to decide whether Trbuljak was an artist or not. In this respect, humor and self-irony played an important role. In 1974, he commenced his work as a painter with the humorous action of painting on the display window of a shop selling art supplies. This event of “Sunday painting” triggered the creation of a series of objects—a box in which he placed canvases that he then protected with glass, making numerous interventions and using various materials. With his witty analysis of the conceptual taboo – the painting – Trbuljak raises the pertinent issues via the medium of painting, which in turn blatantly and ironically reveals its endurance. Trbuljak was the first artist in Croatia to raise the issues of what it means to exhibit and of the artist’s status within the gallery system, and he had an important impact on the generation of post-conceptual artists that appeared in the mid-1970s. In Trbuljak’s art, each new step is always an ethical question.


1948, Varaždin / HR, at that time Jugoslavija

Goran Trbuljak graduated from the Graphic Department of the School of Applied Arts in Zagreb (Croatia) in 1972. After spending two years at the École Nationale Supérieure des Beaux-Arts in Paris (France) he returned to Zagreb and began to study Cinematography at the Zagreb Academy of Drama Arts. Trbuljak finished his studies in 1980 and started his filmmaking career with Ante Babaja’s film “Lost Homeland” (“Izgubljeni zavičaj”). He has worked on a number of series, feature and television films. Trbuljak was several times the winner of the “Golden Arena for Best Cinematography Award” (Pula Film Festival). Furthermore he works as a graphic designer for magazines, such as “Film”, “Polet” and “Gordogan”. Since 1988 Trbuljak has been teaching at the Zagreb Academy of Drama Arts.

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