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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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Maria Hahnenkamp

Maria Hahnenkamp deals with the topic of the (primarily female) body and the everyday images, symbolic poses and rituals (including technical processes) via which this body is staged. She pursues the fascination that these images evoke in us—not to critically discard them, but rather to insert a level on which she produces a reflexive and at the same time sensitive view of them. This means that she not only refers to a particular iconography, that is to say, to stereotype female images, but also considers the process of perception and the structurally associated process of image construction in her work on these images or objects, in some cases also making use of linguistic contexts. Hahnenkamp questions the photographic image itself; in other words, this medium’s conventions as well as its materiality in terms of the picture’s surface or the frame that she works on, both to undermine the imaginary construct of the “female” body and to bring the aspect of the vulnerable and physical into play via a performatively charged counter-figure. An artistic tool employed in varying ways remains the overlapping of image surfaces by ornaments that the artist has embroidered or stitched on it by hand, the models for which come from monasteries’ books of patterns. Another of Hahnenkamp’s procedures consists in not only adding to photographic surfaces, but also taking something away from them by sanding them off. The moment which these processes of photo manipulation have in common consists in the subtle linkage of embellishment with disciplining and a latent aggression via which Hahnenkamp maintains the imaginary transformative process between (female) subject and the gaze, between the constitution of imagery and symbolic representation, while also making this process visible on various formal and technical levels.

 

S.E.

1959, Eisenstadt / AT

 

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