• 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


Peter Weibel

From critiques of language such as those provoked by Ludwig Wittgenstein, through the Vienna Group and Vienna Actionism, artists focused attention on the assumption that our inability to gain precise knowledge about the world is rooted in the nature of our language. Significantly, this was always associated with strong critiques of society. As early as in the nineteenth century, the philosopher and language critic Fritz Mauthner had been an incorrigible anti-establishment figure, not to mention the central figures of the Vienna Group and Vienna Actionism.

Peter Weibel, who is very close to this tradition and who from the outset situated his artistic practice between poetry, music, philosophy, and science, is interested in the communicative, agitative element of art. Logically enough, sociopolitical critique and change must be accompanied by analytical and reformative efforts in one’s own work—anything else would mean a continuation of the traditional, bourgeois concept of art.


1944, Odessa / UA

Peter Weibel studied Medicine, Literature, Film, Philosophy and Mathematics in Vienna (Austria) and Paris (France). Since 1976 he has been teaching at Universities and Academies in Europe and the USA. After being the head of the digital arts laboratory at the Media Department of the New York University in Buffalo (USA) from 1984 to 1989, Weibel founded the Institute of New Media at the Städelschule in Frankfurt/Main (Germany) in 1989. Between 1986 and 1995, he was artistic consultant and later artistic director of the Ars Electronica in Linz (Austria). From 1993 to 1999, Weibel was curator at the Neue Galerie Graz (Austria). At that time he also commissioned the Austrian pavilion at the Venice Biennial. Since 1999 Weibel has been Chairman and CEO of the ZKM Center for Art and Media Karlsruhe (Germany).

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