Marko Lulic
28 June 2010 - 13 February 2011
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MARKO LULIC
"Museum of Revolution"
First temporary intervention in the new 20er Haus
20er Haus
28 June 2010 to 13 February 2011
When the new 20er Haus Museum opens in late 2011, it will substantially
enrich Vienna’s landscape of museums. The pavilion, designed by Karl
Schwanzer for the 1958 Brussels World Fair, is an outstanding example of
Austrian post-war Modernism and after the completion of its adaptation
into a museum for Austrian art after 1945 will be used by the Belvedere
to engage in a dialogue with international positions. By looking into
international tendencies of contemporary art, a discourse is meant to be
evolved and cultivated that closely relates to the Austrian art scene
and also reflects twentieth-century Austrian art history.
The artist Marko Lulic, born in 1972, addresses such themes as
architecture, monuments, public space, and the legacy of Modernism in
Eastern and Western Europe on various levels, relying on references,
(false) translations, and transfers. On the basis of formal aspects and
cultural, social, and political issues, objects and places are furnished
with entirely new meanings through subtle shifts in materiality or
conceptuality.
Lulic’s starting point for his concept of the work Museum of Revolution
was the Muzej Revolucije (Museum of Revolution) in Belgrade, designed in
1961 by the Croatian architect Vjenceslav Richter. (Richter conceived,
among other buildings, the Yugoslavian pavilion for the 1958 Brussels
World Fair). Richter’s Museum of Revolution has never been completed,
but only progressed as far as the ceiling of the structure’s basement. A
ruin now overgrown with shrubbery, it still exists, entirely forgotten,
in a park landscape of New Belgrade. For Lulic, this museum is a model
case of how dreams or revolutions can peter out and how manifestos of a
new dawn can turn into symbols of decline.
Lulic’s work Museum of Revolution, installed on the construction site as
the first temporary intervention in the new 20er Haus, questions the
current meanings of the concepts of ‘museum’ and ‘revolution’. In
launching a discourse on the significance of museums in the twenty-first
century, he encourages spectators "to find out about their future
expectations of and dreams about this institution”, thereby addressing
the museum as a container or dynamic laboratory and its role within and
for society. In his reduced text and typographic works, Lulic, in recent
years, has primarily been preoccupied with utopias. For him,
‘revolution’ represents an "emotionally charged, utopian concept”, which
can and should be interpreted by the spectator in individual ways. The
‘misplacement’ of the slogan, inspired from the idea and aestheticism of
the American billboard, "raises questions that cannot be answered, but
are returned to the audience”, Lulic says.
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