Su-terén / The Basement – collective exhibition
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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