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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/

Artists

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Maja Bajević

Being a part of a system that has been understood as a nation, an economic union, a national unity, an ideological construction, means that the moment of losing this identical construction is going with a multitude of processes that afford a practice of deconstruction, questioning, illustrating and interpretation. Maja Bajević is one of the most known artists from Bosnia and Herzegovina who in many of her works discusses and describes how the collapse of a system has been considering, changing and shaping individual fates and ways of living. In her works, such as “Dressed up (1999) or “Green, green grass at home” (2002) Bajević is looking for the meaning of home - places we inhabited and lived in. Using a method of mental mapping, she shows the personal experience about the past. The video work “Green, Green Grass of Home documents a story about remembering a place, where first the artist’s grandmother and then she herself lived in. During the war in Bosnia and Herzegovina until the time of making the video, the flat was inhabited by other people. During strolling through a green meadow Bajević evokes the memory of the flat and describes it there to her colleague Emanuel Licha 1. Bajević notes: “In the same way as we occupy our home, it also lives in us. We identify with specific places and these mark our lives. With the disappearance of these places, we also lose everything that we lived through in them.” 2 “Washing” as a process is a recurring motif in the works of Bajević. In “Work – Washing Up” (2001) the women are washing the dirt of history; in cooperation with Fazila Efendić and Zlatija Efendić the artist had washed and washed once more until the fibers of the cloth began to defibrate. As “Work – Washing Up” alludes to the collective history of a country the focus of the work “En attendant(1995) lies on a private, love story, that wears itself out. The moments where the ideologies end, once imagined and lived together began to disappear and to transform according to the new ideals, these moments are expressed in a way of  “…: the repetition that will destroy the fabric in the end, … a way to pinpoint the most hurtful place, the place where once something was and is now missing.” 3

 

A.B.

 

Notes:

1 Emanuel Licha is an artist based in Paris. His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as video installations.

2 Collection MACBA, Green Green Grass of Home, a work of Maja Bajević and Emanuel Licha, 2002, http://www.macba.cat/en/2706-

3 Angela Vettese, Maja Bajević (2008)

1967, Sarajevo / BA, at that time Jugoslavija

 

 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Courtesy Kunsthal 44 Møen, Denmark
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