Permanent Anti-Gallery – series of exhibitions

Author: Daniel Grúň
Keywords: non-art venue, urban space

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..

J.K. Ping-Pong Club

Author: Daniel Grúň
Keywords: dematerialization, fluxus, interactivity, thematized role of the audience

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.

The First Open Studio

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.

U.F.O. Gallery – Ganek Gallery

Author: Daniel Grúň
Keywords: absurdity, artist as curator, conceptual art, institutional critique, site-specificity

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.

Čierne diery / Black Holes – situational drama

Author: Daniel Grúň
Keywords: collective practices, industrial venue, occupied venue, participatory practices, performative practices, site-specificity

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

Su-terén / The Basement – collective exhibition

Author: Daniel Grúň
Keywords: collaboration, environment / installation, non-art venue

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.)