spring 2011 friends lecture series

Global Conceptualism

How Do We Work? / Collective Production as an Aesthetic Gesture in some Yugoslav Conceptual Art Groups

Tuesday, 22 February 2011

17.30 - 18.30, Kenneth Clark Lecture Theatre

conceptual diagrams to describe the work of the OHO group of artists
OHO, We are the group OHO, 11 A4 typed texts on paper with photographs, 1970, Moderna Galerija Ljubljana

Speaker(s): Zdenka Badovinac (Director, Moderna Galerija, Ljubljana)

Ticket/entry details: Open to all, free admission

Organised by: Dr Sarah Wilson and Professor Boris Groys

In the 1960s, 1970s and 1980s there were many neo-avant-garde artists in Yugoslavia who worked in groups both because they shared similar aesthetic concepts and because group work provided better production conditions. In a country without a developed art system, group/collective habitat was an alternative to official networks. Many conceptual and post-conceptual artists transformed their conditions into aesthetic gestures between representation and performativity.

Zdenka Badovinac has been the Director of Moderna galerija / the Museum of Modern Art, Ljubljana since 1993. She has curated numerous exhibitions presenting both Slovenian and international artists. She initiated the first collection of Eastern European art, Moderna galerija’s 2000+ Arteast Collection. She has been systematically dealing with the processes of redefining history and with the questions of different avant-garde traditions of contemporary art, first with the exhibition Body and the East – From the 1960s to the Present, staged in 1998 at Moderna galerija, Ljubljana, and travelling to Exit Art, New York in 2001. She continued in 2000 with the first public displaying of the 2000+ Arteast Collection: 2000+ Arteast Collection: The Art of Eastern Europe in Dialogue with the West at Moderna galerija, (2000); and then with a series of Arteast Exhibitions, mostly at Moderna galerija: Form-Specific (2003); 7 Sins: Ljubljana-Moscow (2004; co-curated with Victor Misiano and Igor Zabel); Interrupted Histories (2006); Arteast Collection 2000+23 (2006); The Schengen Women (2008), Galerija Škuc, Ljubljana, part of the Hosting Moderna galerija! project, Old Masters (2008), Zavod P.A.R.A.S.I.T.E., Center in galerijaP74, Ljubljana, part of the Hosting Moderna galerija! Project.

Her other major projects include unlimited.nl-3, DeAppel, Amsterdam (2000), (un)gemalt, Sammlung Essl, Kunst der Gegenwart, Klosterneuburg/Vienna (2002), ev+a 2004, Imagine Limerick, Open&Invited, different exhibition venues, Limerick 2004; Democracies/the Tirana Biennale, Tirana, 2005. She was also Slovenian Commissioner at the Venice Biennale (1993–1997, 2005) and Austrian Commissioner at the Sao Paulo Biennial (2002). Badovinac is the President of CIMAM (International Committee for Museums and Modern Art Collections, linked to ICOM).

This lecture series will complement the new Research Forum/Andrew W Mellon Foundation M.A. on ‘Global Conceptualism’, run by Dr Sarah Wilson with Visiting Professor Groys (New York University) who will be teaching its philosophy-based component in the Spring term. Known for his active role in the Moscow Conceptualist art movement, Groys’ The Communist Postscript (Verso 2009) pursues a story which is now playing out in the reconfiguration of the global art world. The impact of the conceptual art to which he responded in the late 1960s was felt across the world, from West to East and from northern to southern hemispheres. Here the father-figure of the movement, Joseph Kosuth, returns in the company of younger generations of artists, art historians and curators who extend reflections upon art, object, image and word through time and space from their specific geographies and histories to the immaterial.

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