• 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.


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


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