• 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


Heimo Zobernig

Heimo Zobernig subjects the postulates and premises of Modernism to critical enquiry, at the same time as questioning the criteria for attributing an object the status of “art”. With his particular interest in abstraction, he acts against the backdrop of two diametrically opposed positions of the twentieth century: that of emotional, symbolic charging of abstract forms and colours on the one hand, and, on the other, that of a belief in the potential for connotation-free legibility of this vocabulary. The latter played a shaping role in Minimal Art, whose claim to a pure aesthetic phenomenology Zobernig has critically examined or undermined on several occasions. His industrial standard format chipboard lying on the floor and his angle made of chipboard are examples of this. Like the Minimalists, Zobernig works here with industrially manufactured materials; but as well as being less stable and durable—and thus less heroic or monumental—than the metals used by the Minimalists, his pieces of chipboard also bear associations with the construction of furniture and stage props.


1958, Mauthen / AT

Zobernig studied at the Academy of Fine Arts in Vienna (Austria) from 1977 to 1980, and at the University of Applied Arts in Vienna from 1980 to 1983. After two visiting professorships in Germany, he has been teaching at the Academy of Fine Arts in Vienna since 1999. In 1993 he received the “Otto Mauer Prize” and 1997 the “City of Vienna Prize”.

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