Zlá spoločnosť : Peter Kalmus, Michal Murin, Lucia Nimcová, ..

Slovensko Žilina Plusmínusnula
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Výstava Zlá spoločnosť sa pohybuje v intenciách politickej a historickej reflexie obdobia 90-tych rokov na Slovensku. Je pokusom o zhodnotenie rôznych politicky angažovaných prístupov, na základe ktorých je, nie len v danom historickom kontexte (Slovensko, 90. roky, mečiarizmus etc.), možné rozlíšiť rôzne stratégie politicky angažovanej umeleckej praxe – napríklad explicitný komentár resp. akcia (Murin, Kalmus, Rafa, Rónai, Piaček) v kontraste k reflexívnemu, abstrahujúcemu a tým pádom aj všeobecnejšiemu vizuálne sprostredkovanému posolstvu (Rafani, Nimcová, XYZ). Samostatnou súčasťou výstavy je Depozit – archív dokumentov, ale tiež série búst Zakladatelia slovenskej štátnosti zo zbierky Slovenského národného múzea.

Pre porozumenie charakteru výstavy je dôležitý fakt, že je súčasťou širšie koncipovanej diskurzívnej platformy MEMORY KONTROL / MEČIARIZMUS, ktorej rovnocennou súčasťou sú tiež diskusie, divadlo (instantná opera Lesť rozmyslu), oral historický výskum a texty.

 

The exhibition Bad Society presents politically involved art.
It presents works that are both more explicitly politically involved
and less explicitly politically involved describing the nineties in Slovakia,
the time called "meËiarismus" after the prime minister - VladimÌr MeËiar.
For me as a curator, the most important matter here
is the term "politically involved art", which is a bit problematic.
The term is burdened historically, because of the communism era.
In fact, it¥s ceased to exist in a dictionary.
However, I think there is nothing bad about the term itself.
After twenty years, the term should be used again.
Because there are many artists creating politically involved art.
Even it seems that we can speak about a big group.
Actually, it is a normal matter to meet art
dealing with politically extreme ideas in the Slovak art scene.
And this exhibition supports it because
except the group "Rafani", which is Czech, only Slovak artists are being presented here.
For instance, I can name Petr Kalmus and Michal Murin.
Michal Murin made his cycle "Meciar¥s Portrait" in 1992-1998.
Petr Kalmus is known for political provocations which sometimes may be on the edge.
Further I could name Martin PiaËek,
Tom·ö Rafa, the winner of the Oskar »epan Prize, and Petr RÛnai.
These authors are connected by the time.
The historical placement is present in the name of their works or in the form.
The other group of artists, i.e. Lucia Nimcov· and the group "X, Y, Z"
contrast with those works, with the explicitly historical placement.
They work more with the formal side of visuality.
Actually, I wanted to evaluate these two opposite approaches.
I wanted to see which approach addresses us more,
which works have survived their time, and which ones are incomprehensible.
This exhibition is not meant to be a whole complete story.
It is an open story.
In this sense, it is related to the other exhibitions realized
with the project "Memory Control".
If you are interested in this term,
it is necessary to come into the Gallery in éilina.
I think that this exhibition offers to viewers
contemplation over the political situation in the nineties
seen from the perspective of artists.

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