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Július Koller
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Július Koller
La exposición presenta el trabajo del artista eslovaco, documentando su contribución independiente a la vanguardia tras una investigación exhaustiva de su obra y sus archivos. La obra de Koller se desarrolló a una distancia crítica de las autoridades comunistas, cuestionando al mismo tiempo la tradición modernista y las convenciones del negocio del arte en Occidente. Desde mediados de los sesenta, diseñó anti happenings y antipinturas, creando una obra irónica que combinaba el espíritu dadaísta con un escepticismo radical. Pintó imágenes-objeto en látex blanco y pinturas sobre cuestiones clave que se convirtieron en símbolos universales de sus puntos de vista críticos acerca de la vida y la realidad cotidianas. Koller veía el tenis y el pimpón como formas de arte participativo y en este caso combinaba el deporte con la posición política, reivindicando la unión de las reglas del juego con las de la justicia como base para toda acción social. Tras la Primavera de Praga, Koller empezó la serie de los “ufonautas”, que desafían la realidad con “situaciones culturales” y utopías en una nueva y futura cultura cosmohumanística.
Amo Amare
AMO AMARE is dedicated to a romantic conceptualization of Kveta Fulierova in the work of one of our most prominent conceptual artists Julius Koller. Although Koller's "love concepts" represent only a small and rather intimate chapter in his practice, they pregnantly reflect his understanding and approach to the world. Koller draws most of his everyday routine into mounts of his (anti)art. Likewise, his partner Kveta Fulierova is thus "mounted in" and "artifacted" in his work. Beside an art historical study on the theme J+K of Petra Hanakova , the book consists also of original memoirs written by Kveta Fulierova. From mostly a romantic perspective Kveta recalls a coexistence with a peculiar partner, their mutual inspiration and reveals the genesis of some of their mutual works. Apart from concepts, mostly from Kveta Fulierova's private archive, the book features a rich biographical material.
The Green Bloc
Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora i...
Proceedings
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ARTPOOL - The Experimental Art Archive of East-Central Europe
This volume is a collection of texts and documents selected from and illustrating the history of Artpool, a non-profit artist run institution in Budapest, established in 1979 by György Galántai and Júlia Klaniczay and operating since 1992 under the name of Artpool Art Research Center. The book focuses on Artpool’s direct antecedents (among them the events at György Galántai's Chapel Studio in Balatonboglár, 1970–1973), on the foundation, development, art projects and events, as well as the preferences and issues pertaining to art research (not independent of the historical and social environment they were conceived in) that had formed throughout the course of many years and decades...
Július Koller
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Július Koller
Considered a key figure in 20th-century Slovak art, Július Koller also created the famed Ganek Gallery, a retreat found situated on a mountain peak meant to symbolized the interaction between the earthly and the cosmos. Although no works were ever actually displayed there, its aim was to communicate thoughts and ideas that would not have found their place in art otherwise. The project evolved through many years of persevering work, with the community of its adherents meeting in private apartments in Bratislava. This book about the Ganek Gallery emerged from the dialogue with participants, as a supplementary catalogue of Koller's fictive institution. It brings together photographs, magazine cut-outs, collages, drawings, and text records from many private and public sources. The print media and the culture of high mountain tourism in Czechoslovakia in the 1970s and 1980s are explored in all their complexity and light is thrown upon an artist whose working methods remain inspirational right to the present day.
