• 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


Linda Bilda

Linda Bilda is a fine artist, an inventor1, and a political activist. Her programmatic idea “that the world has to be changed”—an idea thoroughly in keeping with the concept of the Situationist International—is a determining factor in her work and in her selection of artistic tools and strategies. Bilda works with the connections and interplay between image and text. She has been a co-publisher of fanzines that took on the institutional art world, its discourses, and its protagonists with critical distance and wit, including ArtFan2 and Die weiße Blatt, Zeitschrift für Kunst und Politik3, in which the “Manifest für emanzipatorische Bildproduktion” [Manifesto for the Production of Emancipatory Images] was published in 2007. Linda Bilda’s primary medium, however, is comics, which she says is so important for her as a pop culture genre “because it is capable of producing information that is both linguistically concrete and visually multilayered.” To her, the advantage of the comics genre is that it is capable of “giving rise to an autonomy of sorts” and conveying content independent of both prior knowledge and the gallery space along with its contextual preconditions.

The stories that Linda Bilda tells in her comics serve to defamiliarize or polemically paraphrase everyday goings-on in society, politics, and the business world, as well as their respective myths as conveyed by the media. Her collected volume Keep it Real5 contains comics drawn between 1992 and 2009 as well as programmatic texts such as on the “sabotage of immaterial work.6 Her pictorial stories take on topics such as gender issues in the art business, the fictitious interlinking of Austrian right-wing populism with crime, or the imagined crash of an airplane occupied by the heads of the American, Russian, and German governments. In Die goldene Welt [The Golden World], Bilda develops her theme around the question of to what extent the economy constitutes our world’s reality. At stake in this “golden world” are a million dollars, which the wealthy Rick Subisha leaves to his friends upon his death with one caveat: the money will ultimately go to the one among them who manages to make the most profit from it within one year. To this end, Bilda creates seven prototypical characters who pursue this goal according to the criteria of neoliberal competition.




1 Linda Bilda has developed two patents having to do with architectural glass.

2 ArtFan: see work list.

3 Die weiße Blatt, Zeitschrift für Kunst und Politik (1997–2007) was published in Vienna. Linda Bilda’s co-publishers were Ulrike Müller, Kristina Haider, Nora Hermann, and others.

4 A quotation from this manifesto (2007): “We would like to stimulate an emancipatory process with regard to the production of images that goes beyond mere analysis. We speak here of image production not in the sense of art but in the sense of a concrete, controversial, progressive and emancipatory image politics that intervenes against a dominance of pictorial wares sponsored with large amounts of money.” Reprinted in: Linda Bilda, Keep it Real, p. 142–144; see note 4.

5 Linda Bilda, Keep it Real. Eine Koolektion von Comics und Texten, ed. Salzburger Kunstverein (2009); this publication appeared in conjunction with the 2009 Salzburger Kunstverein exhibition Linda Bilda, Zukunft und Ende der goldenen Welt.

6 Ibid., p. 166–170.

7 Ibid., p. 146–165.

1963, Wien / AT

Bilda studied Scenography and Filmmaking in the master class of the University of Applied Arts in Vienna (Austria), where she graduated from with honors in 1989. Between 1991 and 1995 she was publishing Fanzine “ArtFan” with Ariane Müller. Since 1999 Bilda is co-publisher of the magazine "Die weiße Blatt. Zeitschrift für Kunst und Politik". She is working internationally as a visual artist. In 2002 she applied for a patent in field of Architecture. 2007 Bilda was admitted as a member of the Vienna Secession (the Union of Austrian Artists). She is also an active member of the Austrian Association of Women Artists. Bilda has received the “outstanding artist award” for visual arts from the Austrian Federal Ministry for Education, Arts and Culture in Vienna in 2011.


Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Media File
Browse All

  • Media File