• 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


Daniel Knorr
Conceptually stringent and at the same time free with regard to choice of medium and style, the work of Daniel Knorr spans the last 15 years as a succession of context-specific and mostly ephemeral projects. He has employed such diverse techniques and formats as the use of found objects, appropriation, task-based performance, alteration of the existing architecture or infrastructure of exhibition and public spaces, photography, sculpture, construction of mechanical and electronic devices or robots, text, cartoons, artist books and magazines, and many others. Once subversive, during the last half-century these ways of working with existing cultural material have been gradually sanctioned as parts of the high-culture repertoire in the practice of many artists, to the effect that their anti-bourgeois edge is no longer there and their origin appears difficult to trace.

Knorr adapts and substantially redesigns the avant-garde techniques as means to work politically within the context of contemporary society. The artist often operates from within the gaps that are created by specific local conditions that do not yet fully conform to the ideal of global distribution of economic and political power, in which access (to information and money) or the lack thereof, define new borders. Knorr’s works elaborate, privilege and feed from diverse phenomena typical of economic underdevelopment and vernacular culture, such as common use of analogue technologies aided with basic electronics, broad acceptance of piracy and bribe, presence of regressive behaviors, a taste for oddities, predominance of simple makeshift and provisional solutions over the ‘hip’, new and high-end, co-existence of old and new rituals and (skeptical) trust in the wisdom of folklore.

The organizing principle behind many of Knorr’s works [...] seems to be that of anagrammatic recoding of meanings of artifacts, functions of tools and their modes d’emploi, as well as redefining the relationship between these objects and the social and cultural phenomena that produced them. The result is that things and names no longer hold together in immutable combinations as they used to in our nominalist world of deictic definitions, but instead they enter a new type of rapport founded on joke, disjunction and irony.     






Excerpts taken from: Adam Szymczyk, “The High, the Low, and the Odd” in: Daniel Knorr - Led R. Nanirok. ed. by Adam Szymczyk, Bogdan Ghiu, Dieter Roelstrate. Zurich: JRP Ringier, 2009.

1968, București / RO

Knorr studied at the Academy of Fine Arts in Munich (Germany) from 1989 to 1995. In 1996 he was awarded with the DAAD scholarship for the Vermont College of Norwich (USA) and in 2001 with the “Grant of the Senate Berlin” (Germany).



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  • Photo: Adam Sakovy
  • Photo: Adam Sakovy

  • Photo: Adam Sakovy
  • Photo: Adam Sakovy
  • Photo: Adam Sakovy
  • Photo: Adam Sakovy