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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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Dimitrije Bašičević Mangelos
Dimitrije Bašičević was an art historian, critic and curator, as well as an artist who worked under the pseudonym Mangelos (after a village near his birthplace of Šid). His oeuvre, according to later periodizations by Mangelos, starts in the postwar period with a number of work groups, which he used to express a state of oblivion and the setting for a new beginning. Taking up positions embodied by the “anti-art” of the Gorgona Group, Mangelos rejected painting and accentuated the rational as the compositional factor in art. His working media consisted of notebooks, school tables and globes, which he used as redecorated ready-mades and wrote letters, words, sentences or essays in Latin, Cyrillic and Glagolitic on them rich in hermeneutic and enigmatic meaning. He denied calling his work art, and invented the term no-art for this practice. Mangelos made his artistic production available only to acquaintances and showed it in public only under conditions of particular discretion.

1921, Šid / RS, at that time Jugoslavija – 1987, Zagreb / HR, at that time Jugoslavija

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
Shid-theory exhibition, Podroom, Zagreb 1978, Photo: Sven Stilinovic
Works
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