• 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


Ivan Moudov

Ivan Moudov belongs to the younger generation of Bulgarian artists who started their careers in the late 1990s; he became known for his interventions in public space during the first decade of the 21st century. Moudov’s art deals with the transgression of legally defined spaces, especially those within Europe, all of which exhibit subtle differences in terms of the public-space conditions that prevail. The laissez-faire structures in many formerly Eastern European countries often contrast with the strictness which can be found in the former West, moving the artist to probe the modalities with which certain systems operate. Some of Moudov’s performances have been carried out in multiple countries, thus reflecting not only the legal circumstances imposed by the respective country or even the European Union, but also the differing reactions by each country’s population. Very often such performances are carried out in the midst of traffic, such as “One Hour Priority” (2000), in which the artist continued to drive around a traffic circle in Sofia for one hour only to realize that nothing much happened. The action was repeated a few years later in Weimar as a separate video work and was given the title "14:13" (2005), because that was how long it took until the police stopped the whole action.

The phenomenon of irritation reached a climax as one of Moudov’s artistic tropes in Sofia in 2006, when the artist announced the opening of a museum of contemporary art, something which has never really existed in Bulgaria. The simple announcement of the museum’s opening in a former train station on posters in the streets and on invitation cards caused a large crowd to appear on the suggested opening day and time to realize that the whole event was meant to be a fake. The artist’s ironic take on harsh political realities forces viewers to think about public confinements and political mechanisms of exclusion. The inclusion of his own person as the performing subject in many of his works turns him into a successful trickster-figure since, thanks to these works’ cleverly conceived execution, no authority can hold him accountable for anything in a legal sense.



1975, Sofia / BG

Moudov received his master degree from the National Academy of Fine Arts in Sofia (Bulgaria) in 2002. He works mainly in installation, video and photography. Moudov’s art has been presented widely throughout Europe.

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