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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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Heidrun Holzfeind

Heidrun Holzfeind is an artist who explores selected thematic complexes with great analytic interest, rendering them accessible in an aesthetic and artistic sense via seemingly restrained but all the more precise means. One of Holzfeind’s emphases is on (frequently modernist or postwar-modernist) architectural projects, many of which were built as residential complexes designed to facilitate specific forms of urban cohabitation; she confronts such projects’ once-utopian aspirations with the social and political reality of the people who live there today. Holzfeind’s method has a documentary component: she shows her protagonists in their living situations and allows them to speak at length while herself remaining in the background. At the same time, though, she subtly brings her personal aesthetic reflections to bear in order to simultaneously convey political content between the lines. Za Żelazną Bramą (2009) is part of a trilogy about modernist residential complexes—two of them in the West, one of them in the (former-)communist East—aimed at evoking critical discussion of modernist promises with regard to urbanism and home living: In Corviale, Il Serpentone (2001), Holzfeind looks at the Corviale complex that was constructed between 1975 and 1982 on the outskirts of Rome, while her work Za Żelazną Bramą focuses on a Warsaw residential project built between 1965 and 1972; both of these are based the urbanistic ideas of Le Corbusier. Colonnade Park, Mies in Newark Revisited (2011), on the other hand, is about the Pavilion and Colonnade Apartments built by Mies van der Rohe in Newark, New Jersey in 1960. Holzfeind composes portraits of the respective presences of these complexes and their inhabitants while at the same time showing the historical shifts and upheavals to which such projects, originally intended as ideal solutions, have been subject. And in doing so, she succeeds in placing urbanistic and sociopolitical elements that would seem to be peripheral, ignored, and forgotten at the center of attention.

 

S.E.

1972, Lienz / AT

 

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