• 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.


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

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