• 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


Anna Jermolaewa

More than two decades after the fall of the Berlin wall, the dissolution of the East-West divide has brought about a new constellation of power relations with a legacy of shattered dreams and distorted views of past and present. Childhood memories and adult experiences have become like an incongruent puzzle which has to be put together in order to constitute the post-modern, post-colonial and post-socialist self in the wake of a newly emerging world order. A somewhat ironical and yet humorous approach to the psychological and physical depths of the individuals in our society, which in a Freudian sense emanate from early childhood experience, can be seen in the work of the St. Petersburg-born and Vienna-based artist Anna Jermolaewa. As a political and economic refugee from the Communist regime, Jermolaewa landed in Austria’s refugee camp in Traiskirchen before being granted asylum in this country and finally choosing to stay and study in Vienna. Having undergone a traumatic transition, Jermolaewa experienced the brutal life of a refugee, a life bereft of any humane treatment. Hence, the border between the living conditions of a human and an animal often seems to shift.  Jermolaewa’s first-semester piece, the “Hendl Triptych”, met with an immediate response by Harald Szeemann and was presented in his dAPERTutto show at the Venice Biennale in 1999. The “Hendl Triptych” consists of a three-monitor video installation in which chicken rotate and roast on a grill. Like in many other works by Jermolaewa, an important element denotes the interim stage between animal and human behavior, signifying the evolutionary transition from prey to predator, and from savageness to domestication, empowerment and subjugation. The shift between time referents, which are personally linked with ideologically and politically distinct socialization patterns, is equaled by a shift in body textures and postures. Her most recent work in connection with the 7th Berlin Biennial consists of an analysis of the protests against the elections in Russia at the beginning of 2012, which demonstrates not only the artist’s but also the protesters’ stance against the unequal treatment of human and political rights. 



1970, Leningrad / RU, at that time SU

Jermolaewa studied Art History at the University of Vienna (Austria) and Painting & Graphic Art/New Media at the Academy of Fine Arts in Vienna. Since 2005 she is professor for Media Art at the State School of Art and Design/ZKM in Karlsruhe (Germany).



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