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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/

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Geta Brătescu

Geta Brătescu was a fine artist who studied literature and philosophy. She began her work as an artist, which continues to this day, in the heterogeneous and provocative intellectual milieu of 1940s and 1950s Romania. She experienced the political upheavals in her home country brought about by socialism and its eventual collapse in late 1989.

Beginning in the 1970s, she developed a cross-media concept for space-referential, performative works in which she examines the relationship between the body and the surrounding space. Brătescu turned to film and photography, taking advantage of the possibilities they offered. This implied an expansion of her process into the realm of the spatial—usually embodied by her studio. She thus transformed her accustomed media of painting and/or drawing into performative scenarios, overcoming the material and aesthetic boundaries to which such media are usually subject. Within the logic of her experimental modus operandi, Brătescu deals in a highly reflective and self-referential manner with both the body and the self-portrait; she examines the conventions of portraying the body, as well as the conceptual possibilities of photography, film, and ultimately the “institutional” context of the artist, who—in her situation in a socialist country—was restricted primarily to her studio and other non-public spaces. Brătescu is concerned with ambivalence, with an obvious, inherent contradiction that is remains unresolved. In order to generate this status of ambivalence, she generates opposite figures—such as “black” to oppose “white,” or “real” and “materiality” to oppose “abstract.” She sets a chronological process in motion that runs both forwards and backwards, deliberately leaving open the issues of subject and object, of real and abstract space.

 

S.E.

1926, Ploiești / RO - 2018,  București / RO

 

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