• 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.


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

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