• 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


Igor Grubić

Igor Grubić began his career as an anonymous artist with the action “Black Peristyle” (“Crni Peristil”), exactly 30 years after the famous public space intervention by the group Red Peristyle (Crveni Peristil), who in 1968 applied red paint to the pavement of the Roman peristyle in Split. Grubić’s big round blotch that appeared in the same spot was both an act of homage to his predecessors and “a magic mirror, reflecting the state of social consciousness,” as he stated in the message he left there. After taking responsibility for his work, he was interrogated by the police at the Department for Counterterrorism and War Crimes—from which he was soon released. Grubić is disobedient, radical, and his works challenged the society of the Tuđman era, an era of war profiteering, privatization and corruption. For him, the “Black Dot” (“Crna točka”) is a “stain on the soul of every individual who could contribute to a different reality but doesn’t do anything about it.” He has agitated for the better functioning of municipal institutions (the Student Centre and the movie theatre Kinoteka); he gathered together artists to take action against the introduction of a value added tax on books (“Book and Society/Knjiga i društvo”, 1998); he works with prison inmates by listening attentively to their childhood stories and visions, also researching what pop-cultural heroes they used to admire (“Velvet Underground”, 2003); he infiltrates the ranks of the miners of Golubara as an “artist-healer” (“Angels with Sooty Faces/Anđeli garava lica”, 2006); he supports the rights of sexual minorities (“East Side Story”, 2008); and he performs “366 Liberation Rituals” (“366 rituala oslobađanja”) (2008–2009) – an annual project of smaller-scale actions and interventions around the city. As Ivana Bago and Antonija Majača describe, Grubić uses the strategies of conceptual art, intertextuality, pop culture, shamanism, illegal guerrilla actions, direct action on the street, performativity, civil disobedience and poetic terrorism to hone his disobedience skills and spread his message to others. Grubić opposes indifference and passivity, and he demands change.


1969, Zagreb / HR, at that time Jugoslavija

Igor Grubić studied Multimedia from 1997 to 1999 and Editing from 1999 to 2000 at the Academy of Dramatic Arts in Zagreb (Croatia). At the same time he started a course on philosophy and later on psychotherapeutic education based on Gestalt and Transactional analysis. Since 1996 Grubić works as a visual artist and mainly produces site-specific interventions in public spaces, with the aim of involving others in the creative process. In 1998 he was awarded second prize of the competition 33rd Zagreb Salon in the organization of the Photo Club Zagreb. Since 2000 Grubić has worked as a producer, journalist and director at Fade In, a studio for activist video, on the production of documentaries, TV reports and socially committed TV advertising.

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