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  • 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. http://en.ghmp.cz/exhibitions/probe-1-the-story-of-slovak-post-conceptual-art/

Artists

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Milan Knížák

Milan Knížák’s attitude toward art is of utmost importance, and can be deduced from the situation in the 1950s and 1960s, mainly from his attack on the Czechoslovakian socialist-modernist milieu in the thaw period after Stalinism, which rid the local scene of the anxious experience of a threatened identity. The cockiness of his unusual combinations of objects, materials, media, approaches and processes set everything in the artistic community in motion and made him an underground hero. This strange connective catalyst was called Fluxus in the West, but Aktual in Czech, which, according to Knížák meant: a different life of conflict. After the fall of the Iron Curtain, Knížák became one of the constitutive figures in the art and society of the neoliberal years of transition and transformation.

1940, Plzeň / CZ, at that time ČSSR

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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  • Foto: Badischer_Kunstverein_2008 (Ausschnitt)