• 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


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 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 Licha1. 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



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,

3 Angela Vettese, Maja Bajević (2008)

1967, Sarajevo / BA, at that time Jugoslavija

Bajević studied at the Academy of Arts in Sarajevo (Bosnia and Herzegovina) in 1991. From 1991 to 1996 she studied Multimedia Art at the École Nationale Supérieure des Beaux-Arts in Paris (France) where she graduated from with distinction. Bajević was visiting professor at the Università IUAV di Venezia in Venice (Italy) from 2005 to 2008. She has received several grants and awards and her work is part of many international art collections, including the Musée National d’Art Moderne, Centre Georges Pompidou, Paris (France); MACBA, Barcelona, (Spain), and the Essl Collection for Contemporary Art, Vienna (Austria).


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