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Author: Daniel Grúň
Keywords: artist as curator, conceptual art, dematerialization, happening, mail art, urban space
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Invitation card for “HAPPSOC I..” (courtesy of Stano Filko)
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The list of objects in things in the city of Bratislava on the “HAPPSOC.I” invite. (courtesy of Stano Filko)
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The twelve-part manifesto for “HAPPSOC I.” titled “What does HAPPSOC mean? Theory of anonymity that in twelve points defines their intentions.” (courtesy of Stano Filko)
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Work documentation: tranzit.cz (courtesy of Stano Filko)
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Work documentation: tranzit.cz (courtesy of Stano Filko)
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Work documentation: tranzit.cz (courtesy of Stano Filko)
Date: 2–8 May 1965
Participants and organizers: Stano Filko (b. 1937), Alex Mlynárčik (b. 1934)
Location: Bratislava, Czechoslovakia
The legendary “HAPPSOC I.” Was a pivotal work by Stano Filko and Alex Mlynárčik that took the form of an invitation card. Those invited were asked to participate by turning the city of Bratislava into a work of art for seven days between May 2–8, 1965. This is the time where two important national holidays are celebrated: Labour Day and Liberation Day. The invitation for “HAPPSOC I. “ contained a list of all things found in the city (including their statistical number) that were to be used to produce the artwork. The list included the total number of: women, men, dogs, houses, balconies, agricultural estates, plant buildings, flats, water supply in flats, water supply out of flats, kitchen ranges electric, kitchen ranges gas, washing mashines, refrigerators, Bratislava as a whole city, a castle, Danube in Bratislava, street lamps, TV aerials, cemeteries, tulips, theaters (including amateur theaters), cinemas, chimneys, trams, motorcars, inns, trolleys, buses, typewriting machines, broadcasting sets, shops, libraries, hospitals, etc.
In collaboration with Zita Kostrová, Filko and Mlynárčik wrote a manifesto to accompany the happening titled “What does HAPPSOC mean? Theory of anonymity that in twelve points defines their intentions.”
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Author: Daniel Grúň
Keywords: non-art venue, urban space
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Street view of Július Koller’s work at the Anti-Gallery in 1968, B&W photograph. (courtesy of Květoslava Fulierová, Bratislava)
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Street view of Július Koller’s work at the Anti-Gallery in 1968, B&W photograph. (courtesy of Květoslava Fulierová, Bratislava)
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Street view of Július Koller’s work at the Anti-Gallery in 1968, B&W photograph. (courtesy of Květoslava Fulierová, Bratislava)
Date: 1968-1969
Participants and organizers: Július Koller (b. 1939), Peter Bartoš (b. 1938)
Location: The display window of the Hosiery Express Repair shop – Výklad komunálnej rýchloopravy pančúch, Bratislava, Czechoslovakia
Let’s imagine a pedestrian casually walking along Klobúčnicka Street in Bratislava near the end of 1968. It’s late November; traces of the August disturbances that were provoked by the occupying army invasion are still visible. The display window of the communal Hosiery Express Repair shop becomes an exhibition space for ”anti-pictures” by Július Koller and photo paintings by Peter Bartoš. Koller and Bartoš continue to exhibit their work regularly here between 1968–69. For the two young artists, this presentation of their own work in an informal setting dissolved the boundaries between art, advertising, and merchandise. The exhibition space was called the Display Window or The Permanent Anti-gallery. Although not their most their spectacular show, in terms of their later work, it represented a crucial shift toward presenting work and ideas in a non-traditional way, in alternative exhibition spaces..
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Author: Daniel Grúň
Keywords: dematerialization, fluxus, interactivity, thematized role of the audience
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Július Koller: JK, Gallery of the Youth, Bratislava, exhibition bulletin with text by Igor Gazdík.
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Július Koller: JK, Gallery of the Youth, Bratislava, exhibition bulletin with text by Igor Gazdík.
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
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Július Koller: J.K. Ping-Pong Club (U.F.O.) Environment, 1970, B&W photograph on paper, 18.5 x 21 cm. Photo: Milan Sirkovský (courtesy of Květoslava Fulierová)
Date: March 1970
Participants and organizers: Július Koller (b. 1939), Květoslava Fulierová, Igor Gazdík, Milan Sirkovský
Location: Galéria Mladých / Gallery of the Youth, Bratislava, Czechoslovakia
Since 1965, Július Koller has been dissolving boundaries between sporting and artistic events. In March 1970, he used the independent exhibition space Galéria Mladých to play table tennis with visitors at regular intervals for the duration of the exhibition. For “J. K. Ping-Pong Club,” Koller turned the gallery into a sports club complete with a ping-pong table, sports flags decorated with the initials J.K., and a list of playing conditions posted on the wall.
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Author: Daniel Grúň
Keywords: artist as curator, collective practices, documentary film, environment / installation, participatory practices, private venue, processuality, semi-public event, site-specificity
Otvorený ateliér / The First Open Studio, 16 mm film transferred onto DVD, 7:04 min. (courtesy Marian Mudroch, Bratislava)
Date: 19 November 1970
Participants and organizers: Milan Adamčiak (b. 1946), Peter Bartoš (b. 1938), Václav Cigler (b. 1929), Róbert Cyprich (b. 1951-1996), Milan Dobeš (b. 1929), Igor Gazdík (b. 1943), Viliam Jakubík (b. 1945), Július Koller (b. 1939-2007), Vladimír Kordoš (b. 1945), Ivan Kříž-Vyrubiš (b. 1941), Otis Laubert (b. 1946), Juraj Meliš (b. 1942), Alex Mlynárčik (b. 1934), Marián Mudroch (b. 1945), Jana Shejbalová-Želibská (b. 1941), Rudolf Sikora (b. 1946), Ivan Štěpán (b. 1937), Dezider Tóth (b. 1947), Miloš Urbásek (b. 1932)
Location: Private house of Rudolf Sikora, Tehelná 32, Bratislava, Czechoslovakia
The collective exhibition ”1st Open Studio,” opened on 19 November, 1970, in Rudolf Sikora’s house—with an adjoining courtyard and garden—on Tehelná Street 32 in Bratislava. It was the first organized protest (in the form of an exhibiton) against the intervention of power over the visual arts, following the events of 1968. The nineteen participants, who gathered there at the invitation Rudolf Sikora, one of the young, emerging artists, shaped the unofficial art scene in the following years. Through the ”1st Open Studio” the artists declared their adherence to the progressive, Slovak art scene in the 1960s. In their work they developed experimental creativity, playfulness, a sensitivity to civilistic poetics of the painting, the art of object and the environment. On the threshold of the period of normalization, in the stifling atmosphere of a closed society and ongoing political purges, the artists’ studios became, not only a place to confront individual artistic practices, but also a space for participation in creative, collective experiences.
(Eugénia Sikorová, ”The Coming of a Generation,” in 1. Otvorený ateliér. Sorosovo centrum súčasného umenia (Bratislava, 2000), 31.
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Author: Daniel Grúň
Keywords: abstract art, avant-garde, dematerialization, environment / installation, painting
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Self-published catalogue to coincide with the project. (courtesy of Stano Filko and Ján Zavarský)
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Self-published catalogue to coincide with the project. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
Date: 1973-1974
Participants and organizers: Stano Filko (1937), Miloš Laky (1948–1975), Ján Zavarský (1948)
Locations: Studio of Stano Filko, Bratislava; House of Arts, Brno; Young Artists’ Club, Budapest
The joint initiative of three artists—Stano Filko, Miloš Laky, and Ján Zavarský—left behind the sphere of science and technology in order to reach a spatial experience of the color white, and to equate painting to a mystical experience. White paint was applied, without any personal gesture, onto various objects and materials (i.e., carton tubes, felt)—it considered as a sign of transcendence beyond the the boundaries of the objective world. In a joint manifesto, the authors removed themselves from all systems of representation in order to fulfill the following goals: to create a visual equivalent of an empty space and in a sense to dematerialize art objects to exceed individuality; to clear away a single author’s personal perspective; and to negate traditional means of painting in visual art. The project was exhibited in the House of Arts, Brno (1973) and in the Young Artists’ Club, Budapest (1977). Two self-published catalogs by the artists were published, accompanied by a manifesto, and texts written by Jiří Valoch, Tomáš Štrauss, and László Beke.
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Author: Daniel Grúň
Keywords: artist-publication, conceptual art, site-specificity
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time I…” (Moravian Karst), collective project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, June 1973, offset, paper, 123 x 83.5 cm. (courtesy of Rudolf Sikora)
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”…Time II…,” joint project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, Peter Bartoš, Michal Kern, Tomáš Štrauss, 1973, offset, paper, 1230 x 700 mm (courtesy of Rudolf Sikora)
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”…Time II…,” joint project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, Peter Bartoš, Michal Kern, Tomáš Štrauss, 1973, offset, paper, 1230 x 700 mm (courtesy of Rudolf Sikora)
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”…Time II…,” joint project: Ján Zavarský, Rudolf Sikora, Miloš Laky, Július Koller, Stano Filko, Peter Bartoš, Michal Kern, Tomáš Štrauss, 1973, offset, paper, 1230 x 700 mm (courtesy of Rudolf Sikora)
Date: June 1973
Participants: Ján Zavarský (b. 1948), Rudolf Sikora (b. 1946), Miloš Laky (1948–1975), Július Koller (b. 1939), Stano Filko (b. 1937) with Peter Bartoš (b. 1938), Michal Kern (1938–1994), Tomáš Štrauss (1931–2013)
Location: Moravský Kras / Moravian Karst and Studio of Rudolf Sikora, Bratislava, Czechoslovakia
Cosmological visions, meditations on the future of civilization, the implementation of information from the natural sciences, and inquiries into cosmic communications were of great importance for Bratislava-based conceptual artists. Using the medium of offset print, the artists also utilized visual signs, photography, diagrams, scientific ideas, codes, and numerals. In the beginning of 1970s, Rudolf Sikora became acquainted with a samizdat translation titled Limits to Growth, which was edited by Dennis L. Meadows. It was the first publication of its kind to highlight the effects of rapid population growth and limited natural resources. It was Sikora who brought together artists and theoreticians, organized closed discussion forums, and took responsibility for printing large posters of their collective that was composed as a somewhat pseudoscientific cosmological probe and future prognoses. The joint project was spurred by the upcoming congress of speleologists in Brno, and composed as a collection of conceptual interventions in the caves of Moravian Karst.
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Author: Daniel Grúň
Keywords: artist as curator, artist-publication, collective practices, conceptual art
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
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The poster/exhibition ”Symposion 74.” (courtesy of Rudolf Sikora)
Date: 28 February 1974
Participants and organizers: Peter Bartoš (b. 1938), Róbert Cyprich / Hervé Fischer, Stano Filko (b. 1937) / Miloš Laky (1948–1975) / Ján Zavarský (b. 1948), Vliam Jakubík (b. 1945), Juraj Meliš (b. 1942), Katarína Orlík, Rudolf Sikora (b. 1946), Dezider Tóth (b. 1947), Jana Želibská (b. 1941)
Location: Bratislava
“Symposion 74” was the outcome of meetings held between participants, and took the exhibition-as-poster format, juxtaposing both individual and collective works by “unofficial” Slovak artists. Contributing artists’ work appeared on a poster in a grid format. Often artists worked collaboratively. The contributing artists and the title of their artwork is as follows: Peter Bartoš: Zooparticipations (1974); Róbert Cyprich/Hervé Fischer: Ninnananna, Ružomberok-Paris (1973); Stano Filko/Miloš Laky/Ján Zavarský: A White Space in a White Space (1973–74); Viliam Jakubík, Many Greetings for Poster Collectors (1974); Juraj Meliš: We Think thus We Are (1974); Katarína Orlik: Love (1974); Rudolf Sikora:-5 000 000 000 ? +5 000 000 000 ?, (1974); Dezider Tóth: Realization of Reality (1974); Jana Želibská: The Taste of Paradise, Galerie Jean-Gilbert Jozon, Paris (December 1973).
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Author: Daniel Grúň
Keywords: collective practices, educational event, ephemaral works, performance for photo camera, photography, processuality, semi-public event, site-specificity
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Peter Bartoš has come to the lake with ecological issues, 4 August 1978 / Peter Bartoš prišiel k jazeru s ekologickou problematikou (Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík (Photo from the archive of Ľubomír Ďurček)
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A — B (Photo from the archive of Ľubomír Ďurček)
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Preparing to strike / Príprava k úderu (Photo from the archive of Ľubomír Ďurček)
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Sculptural or achaeological precision / Sochárska alebo archeologická presnosť (Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík, sculptor, holds a newspaper / Noviny drží Juraj Mihalík, sochár (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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End of a conversation / Koniec rozhovoru (Photo from the archive of Ľubomír Ďurček)
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A sculpture by Vladimír Havrilla / Socha Vladimíra Havrillu (Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla reveals his sculpture / Vladimír Havrilla zviditeľňuje svoju sochu (Photo from the archive of Ľubomír Ďurček)
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Water as sculptural material and medium / Voda jako sochársky materiál a médium (Photo from the archive of Ľubomír Ďurček)
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Ľubomír Ďurček: Self-portrait with potholer’s goggles / Ľubomír Ďurček, Autoportrét s potápačskými okuliarmi (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Archeologist Ladislav Snopko talks about taking a stone in one’s hand / Archeológ Ladislav Snopko hovorí o kameni do ruky (Photo from the archive of Ľubomír Ďurček)
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Once more on the haptic / Ešte raz o haptike (Photo from the archive of Ľubomír Ďurček)
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The third of all holds / Tretí, zo všetkých úchytov (Photo from the archive of Ľubomír Ďurček)
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Only a small part of today’s texts / Iba malá časť dnešných textov (Photo from the archive of Ľubomír Ďurček)
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One of the authors of the lake book / Jeden z autorov jazernej knihy (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Gerulata, part of a Roman fortress / Gerulata, časť rímskeho opevnenia (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Gerulata, underground / Gerulata, spod zeme (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla distributes microten bags, 7 August 1978 / Vladimír Havrilla prideľuje mikrotenové vrecká (Photo from the archive of Ľubomír Ďurček)
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Sculptor Juraj Mihalík makes his fountain operational / Sochár Juraj Mihalík predvádza svoju fontánu (Photo from the archive of Ľubomír Ďurček)
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Somewhere apart, Stano Filko is sketching and writing on microten bags / Stano Filko niekde v ústraní kreslil a písal na mikroténové sáčky (Photo from the archive of Ľubomír Ďurček)
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Afterwards he turned them over / Potom ich obrátil naruby (Photo from the archive of Ľubomír Ďurček)
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Ladislav Snopko speaks about archaeology / Ladislav Snopko hovorí o archeológii (Photo from the archive of Ľubomír Ďurček)
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The sculptor who creates sculptures can himself be a sculpture, says Ľubomír Ďurček / Sochár, ktorý vytvára sochy, môže byť sám sochou – hovorí Ľubomír Ďurček (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík thinking over another kind of sculpture / Juraj Mihalík uvažuje o inom druhu plastiky (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Sociology and sculpture before their action / Sociológia a sochárstvo pred svojou akciou (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Once again on the secrets of archaeology in the present / Ešte raz o tajomstvách archeológie v prítomnosti (Photo from the archive of Ľubomír Ďurček)
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Ľubomír Ďurček looks at this world through a microten bag /Ľubomír Ďurček sa díva na tento svet cez mikrotenový sáčok (Photo from the archive of Ľubomír Ďurček)
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One more look towards the sun / Ešte jeden pohľad smerom k slnku (Photo from the archive of Ľubomír Ďurček)
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Painter Ľubomír Ďurček looks through a microten bag at himself / Maliar Ľubomír Ďurček sa díva cez mikroténový sáčok na seba (Photo from the archive of Ľubomír Ďurček)
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Ďurček: Enclave / Ďurček – Enkláva (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla concludes the lakeside meeting / Vladimír Havrilla ukončuje stretnutie při jazere (Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla fashioning water / Vladimír Havrilla modeluje vodu (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Invisibility within reach / Neviditeľnosť na dosah (Photo from the archive of Ľubomír Ďurček)
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Date: 4-7 August 1978
Participants and organizers: Peter Bartoš (b. 1938), Ľubomír Ďurček (b. 1948), Stano Filko (b. 1937), Vladimír Havrilla (b. 1943), Juraj Mihálik (b. ), Ladislav Snopko (b. 1949)
Location: Rusovce, Bratislava, Czechoslovakia
By a lake in Bratislava, participants created mini events and ephemeral artworks out of materials found at the location, including pebbles, stones, plastic, etc. The event was initiated by Ľubomír Ďurček, a conceptual artist, performer, filmmaker, and author of experimental texts and books. The entire event was documented in a series of black-and-white photographs taken by participants.
In comments made Ďurček about the event, he points said that situations created did not necessarily correspond to reality.
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Author: Daniel Grúň
Keywords: artist as curator, dematerialization, festival, fluxus, international network
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Poster–calendar for Róbert Cyprich’s Red Year, a pseudo-festival at the International Festival of Socio-cultural Processual Feasts, offset print, paper. (courtesy of Jana Želibská)
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Poster–calendar for Róbert Cyprich’s Red Year, a pseudo-festival at the International Festival of Socio-cultural Processual Feasts, offset print, paper. (courtesy of Jana Želibská)
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Poster–calendar for Róbert Cyprich’s Red Year, a pseudo-festival at the International Festival of Socio-cultural Processual Feasts, offset print, paper. (courtesy of Jana Želibská)
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Poster–calendar for Róbert Cyprich’s Red Year, a pseudo-festival at the International Festival of Socio-cultural Processual Feasts, offset print, paper. (courtesy of Jana Želibská)
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Poster–calendar for Róbert Cyprich’s Red Year, a pseudo-festival at the International Festival of Socio-cultural Processual Feasts, offset print, paper. (courtesy of Jana Želibská)
Date: 1979
Participants and organizers: Róbert Cyprich (1951–1996), and with the creative cooperation of 365 friends from all over the world.
Location: Czechoslovakia
Róbert Cyprich’s pseudo-festival Red Year is connected to several other events that he organized in 1979 including Faga Ready-Made ’79, ONE MAN SHOW? 15 000 000 ”MAN“ SHOW!, BEIG Inc., Time of Cage, and Bee Flower. The conceptual poster–calendar Red Year came about as a creative collaboration with 365 friends from around the world, and was conducted via mail. The work emerged from the collision between the international utopian ideals of the avant-garde and the reality of everyday life in Czechoslovakia at that time where official ”red” idealogy was imposed on society.
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Author: Daniel Grúň
Keywords: absurdity, artist as curator, conceptual art, institutional critique, site-specificity
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The organizational committee for Július Koller’s U.F.O. Galéria Ganek—Organizačná komisia / U.F.O. Ganek Gallery in 1982 Photo: Květoslava Fulierová, B&W photography on paper (courtesy of Květoslava Fulierová and the Július Koller Society, Bratislava)
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Július Koller: U.F.O. Galéria (Galéria Ganku) / U.F.O. Gallery (Ganek Gallery), 1980, handwritten invitation on paper, 14.5 x 21.1 cm. (courtesy of the Július Koller Society, Bratislava)
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Július Koller: UFO Galéria – Galéria Ganku / UFO Gallery – Ganek Gallery, 1982, typescript on paper A (typed by Igor Gazdík); 21 x 29,8 cm. Courtesy of the Július Koller Society, Bratislava.
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Július Koller: UFO Galéria – Galéria Ganku / UFO Gallery – Ganek Gallery, 1982, script on paper A (typed by Igor Gazdík), 21 x 29.8 cm. (courtesy of the Július Koller Society, Bratislava)
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Július Koller: Július Koller 1980: Galéria U.F.O. (Vysoké Tatry) / Július Koller 1980: U.F.O. Gallery (High Tatras), photograph from magazine, marker, 19.3 x 29.6 cm. (courtesy of the Július Koller Society, Bratislava)
Date: 1980–83
Participants and organizers: Július Koller (b. 1939), Igor Gazdík (b. 1943), Peter Meluzin, Pavol Breier (b. 1953), Milan Adamčiak (b. 1946), Rudolf Sikora (b. 1946), Dezider Tóth (b. 1947), Juraj Meliš (b. 1942)
Location: In the residential apartments of Július Koller, Milan Adamčiak, and Igor Gazdík, Bratislava-Dúbravka, Czechoslovakia
The fictional gallery project U.F.O. Gallery—Gallery Ganek was initiated by Július Koller in 1971. It functioned as a visual and physical symbol of the connection between the Earth and the cosmos, and acted as medium to communicate with unknown civilizations. The gallery’s high location at Malý Ganek—an almost three-hundred-meter mountain peak with a northwest wall that attracted climbers—symbolized the encounter between the earthly and the cosmic. Participants collectively drafted the statute for the project and discussed potential exhibitions. In 1980, Koller declared Gallery Ganek to be part of Universal-Cultural Futurological Operation (U.F.O.). An organizational and advisory committee came into being on September 18, 1981, and on March 24, 1982, the commission approved the program and statutory principles. Subsequently a text was produced—the constitution for the gallery which was named ”U.F.O. Gallery—Ganek Gallery, High Tatras (U.F.O.G.),” and signed by Koller, Igor Gazdík (commissioner), and commission members Milan Adamčiak, Pavol Breier, Peter Meluzin, and Rudolf Sikora. In the introduction of the U.F.O. Gallery statute, exhibition activities in the physical Ganek Gallery were ruled out; rather, it was a symbolic location used to communicate a variety of alternative forms of expressions (i.e., images, concepts, signals, etc.) with unknown civilizations on Earth and with the universe beyond. The rules of the gallery statute have a discursive quality. It was based on the assumption that the statute of a socialist institution reflects what the institution is about.
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Author: Daniel Grúň
Keywords: collective practices, industrial venue, occupied venue, participatory practices, performative practices, site-specificity
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Photograph at the water treatment plant with artists Martin Kállay, Radislav Matuštík, and Peter Meluzin. (courtesy of Peter Meluzin)
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Photograph at the water treatment plant with artists Martin Kállay, Radislav Matuštík, and Peter Meluzin. (courtesy of Peter Meluzin)
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Photograph at the water treatment plant with artists Martin Kállay, Radislav Matuštík, and Peter Meluzin. (courtesy of Peter Meluzin)
Date: 1983–84
Location: Water treatment plant, Vrakuňa near Bratislava, Czechoslovakia
Participants and organizers: Peter Meluzin (b. 1947), Július Koller (1939-2007), Róbert Cyprich (1951-1996), Rudolf Sikora (b. 1946), Dušan Hanák (b. 1938), Radislav Matuštík (1929-2006)
In the early 1980s, Peter Meluzin found a number of different of locations in the urban socialist periphery for his situational actions and dramas. Venues included a gym, a water purification plant, and a bus stop. Meluzin was one of the founders of the Terén action group which was active between 1982–87. (Artprospekt P.O.P.: Ladislav Pagáč/Viktor Oravec/Milan Pagáč, Róbert Cyprich, Ľubomír Ďurček, Michal Kern, Július Koller, Vladimír Kordoš, Matej Krén, Radislav Matuštík, Peter Meluzin, Dezider Tóth, and Jana Želibská). As part of the Terén group, he staged several events between 1983–84 for a limited circle of Bratislava artists in found environments. He used locations such as the partially constructed concrete building that was part of a water treatment plant in the Bratislava suburb of Vrakuňa. By improving and perfecting original scripts for the play and adaptation of the events to the state of completion of this edifice, he created two situational dramas titled Black Holes (Čierne diery / Schwarzes Loch) and Sitting Bull. In the inhuman and desolate spaces of the building, Meluzin staged the drama for participants; the drama presented reflected people’s everyday lives. Participants were left feeling helpless, isolated, and controlled. Meluzin’s events were constructed through participation, often feeling like “out-of-town trips,” similar to events organized by the Moscow Collective Actions Group.
Document: Peter Meluzín: Comments on Black Holes
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Author: Daniel Grúň
Keywords: collaboration, environment / installation, non-art venue
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Basement reconstructed into exhibition space (from left: Peter Rónai, Viktor Oravec, Peter Meluzin, Matej Krén, Milan Pagáč). (courtesy of Peter Meluzin)
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Jana Želibská, Untitled, neon light, plinth made of polychrome wood, 1989. (courtesy of Peter Meluzin)
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Peter Meluzin, Untitled, A-frame ladders, spotlight, enamel paint, 1989. (courtesy of Peter Meluzin)
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Radislav Matuštík performing at the exhibition opening. (courtesy of Peter Meluzin)
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Viktor Oravec and Milan Pagáč, Untitled, glass structures, sheets of glass, neon light, 1989. (courtesy of Peter Meluzin)
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Exhibition floor plan of the basement exhibition space. (courtesy of Peter Meluzin)
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Július Koller, Suterénová kultúrna situácia 1 (U.F.O.) / Basement Cultural Situation 1 (U.F.O.), divided ping-pong table in two spaces, 1988. (courtesy of Peter Meluzin)
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Július Koller, Suterénová kultúrna situácia 1 (U.F.O.) / Basement Cultural Situation 1 (U.F.O.), divided ping-pong table in two spaces, 1988. (courtesy of Peter Meluzin)
Date: 14–28 February 1989
Participants and organizers: Milan Adamčiak (b. 1946), Július Koller (1939-2007), Matej Krén (b. 1958), Radislav Matuštík (1929-2006), Peter Meluzin (b. 1947), Milan Pagáč (b. 1960), Peter Rónai (b. 1953), Viktor Oravec (b. 1960), Jana Želibská (b. 1941)
Curator: Radislav Matuštík
Location: Konventná 14, Bratislava, Czechoslovakia
The exhibition was conceived by Peter Meluzin as an action art piece that would end up in a collective exhibition. Action artists made it known that a new artistic trend was emerging in the heyday of the Neue Wilde movement. In order for this to be true, it was essential that the artworks presented in this show were of a high standard. Radislav Matuštík accepted the role of curator, and most of the participants were Action artists, associated with the group called Terén/Terrain. The entire exhibition, from start to finish, required both conceptual and organizational planning in order to realize the project. This included: discussions with artists; the search for an appropriate location; structural adjustments to the exhibition venue; realization of objects and installations for the show; documentation of the entire process from the initial planning stages to the exhibition opening; press coverage; film journal; catalog printing, etc.
(Exhibition notes according Peter Meluzin.)
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