• 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


Dóra Maurer

Dóra Maurer stands alongside Miklós Erdély, Gábor Bódy and Tibor Hajas as one of the best-known representatives of the Hungarian avant-garde scene of the 1960s and ’70s. Although she worked in various media over the course of her long artistic career, a focus on the theme of order can be made out as one of the most important common denominators in her work. “This order, however, should be interpreted in a rather elastic way,”1 writes László Beke in his text “Objective Tenderness.” On the one hand, geometric form and the systematic, constructive method play a great role, while on the other hand the phenomenon of coincidence functions as an important generator of her pictorial constructions.

Via methodically done deviations in terms of structure, Maurer achieves structural shifts. The staging of these shifts facilitates questioning of their complexity and potential. The moment they are analyzed more closely and altered via minimal movements, insignificant and  mundane situations are transformed into intriguing processes of experimentation with our social practices. The same applies to the film Learned Spontaneous Motions, in which the artist plays with the principle of repeating, expanding and varying the basic motif. A young woman reads a book, playing with her hair and changing her facial expression while reading. The 60-second movement series is shown in four sequences. The first segment shows the series’ first 15 seconds, the second shows the first 30, the third shows the first 45 seconds, and the final segment shows the entire 60 seconds. The voice of Dóra Maurer—reading a text by Sholokhov—provides the soundtrack for the filmed images. “Maurer’s films are ‘variable systems,’ which is to say that they do not document predetermined processes. The structure, for the most part limited by strict rules, first appears via the film (i.e. in the film) as a process. The system itself can be better compared with mathematical or logical deductions…”2

In the 1970s, Dóra Maurer began using the principle of the shift in her mathematical tables. She was interested in the systematization of mathematical relations between amounts shifted this way and that.3 Fascinated by developments which she “had only set in motion but not ‘made’” herself,4 She cut out the images in order to lend the flat surfaces more character. "The system graphics are abstract, indifferent. The only way to render them lively, corporeal, capable of being experienced and aesthetically evaluated is through the strategy of choosing details.”5 Various manifestations of color and color layerings, as well as different types of lighting, evidence increasingly perspectival constructions in her images from the 1990s; these give an impression of depth. Sometimes Maurer also projected the images on a vaulted surface, subsequently painting the resulting form on a flat medium (as in Hemisphärische Drillinge, 1999).




1 Beke Láslzló, Objective Tenderness, in: Dieter Ronte, Beke Láslzló, Dóra Maurer, Arbeiten 1970-1993, p. 99.

2 Peternák Miklós, Maurer Dóra. Filmek – 1973-83, catalog published by Pécsi Galéria, Pécs, 1983.

3 See Dieter Ronte, Beke Láslzló, Dóra Maurer, Arbeiten 1970-1993, p. 118.

4 Anna Bálványos, „Fragen an Dóra Maurer“ [Questions posed to Dóra Maurer], in: maurer dóra, catalog of the exhibition Concise Oeuvre, Museum Ludwig – Museum für Zeitgenössische Kunst, Budapest, 5 Dec. 2008–22 Feb. 2009, p.220.

5 Maurer Dóra: A relatív Quasi-képekről. In Dialog, 1990.

1937, Budapest / HU

Maurer studied Painting and Graphic Reproduction at the University of Fine Arts in Budapest (Hungary) from 1955 to 1961. Since 1990 she has been lecturer at the same university, where she became professor in 2003. Maurer has received several grants and awards, including the “Kossuth Prize” (2003).


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