• 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


Boryana Rossa

Boryana Rossa’s work scrutinizes contemporary practices of gender-emancipatory performance in which the body becomes the central medium and enters into a relationship with the audience via a live or mediatized setting. Rossa’s work encompasses photography, video, electronic arts and performance, often showing the artist’s own body as the primary subject of exploration. Since 2004, Rossa has collaborated with Russian artist Oleg Mavromatti, with whom she founded the ULTRAFUTURO collective. In many of her works, the body is subjected to pain and violence; this harkens back to the performance art tradition of the 1960s and 1970s, a context in which the immediacy of the body could only be felt through pain, thus being integrated into a process of subjectivization, thus postulating woman’s role as a fully perceived subject vis-á-vis the historically male-defined objectivization of the female body. For Rossa, “Wounds and bruises are not always the result of violence; sometimes they are the marks of love…. Pain (including the physical) is a part of human existence—it is part of the life of both men and women; it is part of the act of creation.”1 In this respect, body language and emotional outbursts are essential elements of Rossa’s performative gestures, with notions of hysteria also coming into play. The latter, however, are not meant to denote a pathological disorder, but much rather employ a critically feminist interpretation of Lacan in order to refer to woman's body language or to pre-oedipal semiotics, which could also be applied to sexually transgressive behavior.   

Regarding the focus on gendered body language or gender as performance per se, Rossa concentrates on identity formations in the wake of both post-Cold War political transformations and the increasing onslaught of capitalism in global politics and technological development.




1 Charlotta Kotik, “Post-Totalitarian Art: Eastern and Central Europe,” in Global Feminisms. New Directions in Contemporary Art, ed. Maura Reilly, Linda Nochlin (New York: Merell, 2007),154.

1972, Sofia / BG

Boryana Rossa is an interdisciplinary artist and curator who works in the fields of electronic arts, film, video, performance and photography. She studied Public Art and Mural Painting at the National Academy of Arts in Sofia (Bulgaria) until 1997. In 2007 Rossa received her master degree in Electronic Art from the Rensselaer Polytechnic Institute in Troy (USA).

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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