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:
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Roman Ondak
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Paul McCarthy
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Trisha Donnelly
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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
1983McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
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Cross Lypka
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Naufus Ramírez-Figueroa
2018In Guardian 2 Naufus Ramírez Figueroa explores the historical memory and political reality of the ruins of Kawinal, an archeological site of postclassic Mayan culture that was flooded in order to construct the hydroelectric dam of Chixoy in 1975 in a supposed effort to bring electricity to the country...
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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
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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...
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Douglas Gordon
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Douglas Gordon
2004Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
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Douglas Gordon
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