Photography (Photography)

Wordplay was a central focus of Koller’s work, in particular the acronym U. F. O, which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U. F. O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle.

Drawing & Print (Drawing & Print)

Wordplay was a central focus of Koller’s work, in particular the acronym U. F. O., which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U. F. O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle.

Photography (Photography)

This work is one of Koller’s many variations which he began to use from 1970 to describe the ‘cultural situations’ he created. His “Anti-Happenings” turned mundane events into ‘cultural’ and ‘subjective’ situations. He sought to create new cultural situations that weren’t new art, but rather new ways of living: a new creativity for a new humanistic culture.

Photography (Photography)

The photograph Monologic – Yo-Yo 1, 2 (U. F. O. ), (1982), shows Koller playing with a big white Yo-Yo in a drab concrete building among a group of tower blocks.

Painting (Painting)

Otazniky

Drawing & Print (Drawing & Print)

Anti-Happening refers to Koller’s 1965 manifesto, ‘Anti-Happening (System of Subjective Objectivity)’. In opposition to the notion of a ‘happening’ as a way of actualising group identity, in his manifesto, Koller stated that his concept of the ‘anti-happening’ aimed at a ‘cultural reshaping of the subject, at awareness, at the surroundings and the real world’ [i] . Unlike happenings, these actions do not involve the staging of psychologically expressive performances.

Photography (Photography)

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns.

Sculpture (Sculpture)

In 1872, a German scientist, Sir Julius von Haast, found the fossilized remains of a giant bird in New Zealand, that was soon connected to the Maori legend of the Hokioi. The Maori folklore recounts the story of an eagle of immense proportions that was said to be capable of devouring human beings. The bones uncovered by the scientist included a femur, one rib, and two claws.