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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.
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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.
Awnings
The exact origin of these fixtures is unknown. Their materials accessible, its motif historical. Its application in the city is prolific, its appearance dated, the problem it aims to solve timeless. A community responds to their environment, leaving a trace on the landscape. This action operates as a time-stamped visual reverberation in the city, more present than any one architect/designer.
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.
Zofia Kulik and Przemyslaw Kwiek: KwieKulik
"The book ... consists of two basic parts. The first presents the oeuvre of Zofia Kulik and Przemysław Kwiek. The artists' practice has been divided into 203 events from the 1960s to 1988. The second part of the book comprises text materials in the following categories: KwieKulik Texts, KwieKulik Glossary, Contextual Glossary, Essays and Bibliography"--Page 4.
The Museum as Muse
Published on the occasion of the exhibition of the same name held at the Museum of Modern Art, New York, March 14 - June 1, 1999.
Networking the Bloc
The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznań, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web o...
