Otazniky
1969 - Painting (Painting)
29 x 66 cm
Julius Koller
In its stringency, obsession and peculiarity, the oeuvre of Julius Koller is one of the most idiosyncratic and consistent in European art since the 1960s. Yet Koller is not only a seminal figure in the history of the neo- and post-avant-garde; his work has long been a critical inspiration for artists and intellectuals. In the most recent past, Koller’s concepts of the Anti-Happening, the Anti-Picture, the Universal-cultural Futurological Operation (U.F.O.), his actions, objects, texts and the enormous referential archive he built up, have attracted growing interest on the part of a broader art public. From around 1960, in response to the modernist mainstream in Slovak art, Julius Koller began to develop his aesthetic position of the “antihappening.” His strategy consists in using real objects and everyday life as the predefined program for an aesthetic operation: from 1965, in texts rubberstamped on paper that refer to the context of the “anti-happening,” and then in 1967/1968 in pictures for which Koller used white latex paint instead of oils and which saw the first appearance of the question mark—the symbol of Koller’s brands of naming, or “making known,” that was later to undergo many mutations in various media and states of aggregation. The “invitation cards for an idea”—as Koller called the text works relating to the “anti-happenings”—and the palimpsests and serial arrangements of the “anti-pictures” set themselves apart from the academicism of Modernism in more than just formal terms. Koller foregoes every form of technical mastery. The “anti-pictures” are amateurish in style, ensuring that they fulfill their task, defined by Koller as “engaging rather than arranging.” Julius Koller was born in 1939 in Piestany, Slovakia. He died in 2007 in Bratislava.
Colors:
Related works featuring themes of: » Performance Art, » Slovakian
» see more
© » KADIST
Roman Ondak
2003As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...
© » KADIST
Paul McCarthy
2008Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
© » KADIST
Rabih Mroué
2012The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
Other related works, blended automatically
» see more
© » KADIST
Roman Ondak
2003As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...
© » KADIST
Paul McCarthy
2008Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Related works sharing similar palette
» see more
© » KADIST
Cross Lypka
2022tombs and ignitions is a collaborative ceramic sculpture by artists Tyler Cross and Kyle Lypka...
© » TATE EXHIBITIONS
Louise Bourgeois | The Burton at Bideford Explore the work of Louise Bourgeois, one of the most celebrated and influential figures in modern and contemporary art in Devon With a career spanning eight decades from the 1930s until 2010, Louise Bourgeois is one of the great figures of modern and contemporary art...
Other works by: » Julius Koller
» see more
© » KADIST
Julius Koller
Anti-Happening refers to Koller’s 1965 manifesto, ‘Anti-Happening (System of Subjective Objectivity)’...
Related artist(s) to: Julius Koller » Rirkrit Tiravanija, » Mladen Stilinović, » Anton Vidokle, » Douglas Gordon, » Roman Ondák, » Deimantas Narkevičius, » Hans Ulrich Obrist, » Jiří Kovanda, » Mona Hatoum, » Rasha Salti
» see more
© » KADIST
Anton Vidokle
2020Shot in Oliveto Lucano, a village in the south of Italy, AUTOTROFIA (meaning self-eating) by artist Anton Vidokle is a cinéma vérité style film that slides fictive characters into real situations, and vice-versa, to draw a prolonged meditation on the cycle of life, seasonal renewal, and ecological awareness...
© » KADIST
Douglas Gordon
1996In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
© » KADIST
Mladen Stilinovic
1985The Exploitation of the Dead cycle is composed of a very large number of elements which the artist reorganizes differently every time...
© » KADIST
Roman Ondak
2003As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...