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LENTOS Kunstmuseum Linz

Information Sheet

MARKO LULIĆFuturology

30 June until 10 September 2017

LENTOS Kunstmuseum Linz, A-4021 Linz, Ernst-Koref-Promenade 1 Tel: +43 (0)732.7070-3600 Fax: +43 (0)732.7070-3604 www.lentos.at

Content

Exhibition Facts ………………………………………………………………………….. 3

Press Text …………………………………………………………………………………… 5

Biography .……………………………………………………………………………………. 6

Exhibition Booklet…………………………………………………………………………………… 7

Press Images…………………………………………………………………………………… 19

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Exhibition Facts

Exhibition Title MARKO LULIĆ. Futurology

Exhibition Period 30 June until 10 September 2017

Opening Thursday, 29 June 2017, 7 pm

Press Conference Thursday, 29 June 2017, 10:00 am

Exhibition Venue LENTOS Kunstmuseum Linz

Curators/Concept Wilfried Kuehn

Exhibition Architecture KUEHN MALVEZZI

Exhibits about 90 works from the artist Marko Lulić (Sculptures, large-scale

installations, video, posters, lettering, and works in public space)

Publication The catalogue Marko Lulić. Futurology is published by Verlag für moderne

Kunst to coincide with the exhibition and features a foreword by Hemma

Schmutz and texts by Wilfried Kuehn, Branka Benčić and Jörg Heiser

(300 pages, richly illustrated with colour photographs, German/English), € 29

Contact Ernst-Koref-Promenade 1, 4020 Linz, Tel. +43(0)732/7070-3600;

[email protected], www.lentos.at

Opening Hours Tue–Sun 10 am to 6 pm, Thur 10 am to 9 pm, Mon closed

Admission € 8; concessions € 6

Press Contact Clarissa Ujvari, T +43(0)732.7070.3603, [email protected]

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mailto:[email protected]

http://www.lentos.at/

mailto:[email protected]

Available at the Press Conference:

Hemma Schmutz, Director of the Museum

Doris Lang-Mayerhofer, Commissioner of Cultural Affairs for the City of Linz

Wilfried Kuehn, Curator

Marko Lulić, Artist

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Press Text

For his first mid-career survey exhibition in Austria, Marko Lulić, assisted by the curator Wilfried Kuehn, has

designed an overview of his work.

Sculpture, large-scale installations, video, posters, lettering, and works in public space are the artist’s

preferred media, which he will bring together in a completely new constellation in the exhibition space.

Utopian aspects of the twentieth century are analyzed, translated and queried here. Architecture and

display, central themes in his work, become the means of a restaging in the museum.

Since 2000, Lulić has been investigating Yugoslavian and International Modernism. He addresses the

relationships of form and ideology and the relation between body and representation in different political

contexts.

Since the late 1990s Marko Lulić has exhibited in Austria and around the world, most recently at the Chicago

Architecture Biennial and in the MAK Center for Art and Architecture in Los Angeles. His work has been

distinguished with many awards. The artist, born in 1972 in Vienna, lives and works in Vienna.

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Biography

Marko Lulić is a Vienna-based artist, whose work is concerned with the intersection of architectural

modernism, ideology and aesthetics. He addresses the relation between body and representation in different

political contexts. Lulić has remade a number of modernist monuments, as well as reactivated them in some

form by using those public sculptures as reference and/or location of his performances.

He has exhibited extensively nationally and internationally at the Storefront for Art and Architecture, New

York; Douglas F. Cooley Gallery, Reed College, Portland, Oregon; MAK, Vienna; MAK Center for Art and

Architecture, Los Angeles; Witte de With Center for Contemporary Art, Rotterdam; Kunsthalle Vienna,

Triangle Project Space, San Antonio, Texas; Office for Contemporary Art (OCA), Oslo; Migros Museum of

Contemporary Art, Zurich; 21er Haus/Belvedere, Vienna; Museum of Contemporary Art, Zagreb; Museum of

Contemporary Art, Belgrade; Kunstverein Heilbronn; Oldenburger Kunstverein; Kunstverein Arnsberg;

Salzbuger Kunstverein; Grazer Kunstverein; Bawag Foundation, Vienna; MACRO Testaccio, Rome; Fondazione

Morra Greco, Naples; Erich Hauser Stiftung, Rottweil; Kunsthalle St. Gallen and Frankfurter Kunstverein. His

work was included in The Biennale of Sydney; the Swiss Sculpture Exhibition, Biel / Bienne; the October

Salon, Belgrade and the Chicago Architecture Biennial.

August 2017 his work will be presented at the Frestas Triennial, Sorocaba, Brazil. In recent years he has also

curated several exhibitions at the Secession, Vienna; Siemens Arts Program and the Museum of

Contemporary Art, Belgrade. He won several awards such as the Kardinal König Kunstpreis, the Award of the

Alfried Krupp von Bohlen und Halbach Foundation and the Erich Hauser Foundation Award. For five years he

has taught at the Academy of Fine Arts Vienna. Lulić is represented by Gabriele Senn Gallery.

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Exhibiton Booklet

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SPACE STAGING / EPILOGUE / MOVEMENT

Sitespecifić, 2009

Courtesy Gabriele Senn Gallery, Vienna and the artist

“Site-specific” is a term in the theory of art that typically refers to sculptural works aiming to establish

a close relationship with the site to which they are affixed or where they are installed. Such

sculptural works often result from explicit commissions to create a work of art for a specific site.

Sitespecifić came into being in 2009 for an art project originally destined for the facade of

backerstrasse4 in Vienna. Lulić focuses attention on how the word is spelt: the last c has the same

accent that is also to be found in the artist’s name – for Lulić a tongue-in-cheek reflection on his own

identity. In addition, similar to the work Fragment of a Modernist Monument Made to Fit the Witte de

With, what we get here is an ironic questioning of “site-specific” as a technical term. Mounted in the

LENTOS’s main stairwell, the work is brought up to date and the approach to the exhibition is

charged with additional significance.

Posters, 1994–2017


Featuring posters and various PR material such as invitations and envelope designs, this hoarding

presents a bird’s eye view of the artist’s exhibitions and projects. Ever since his student days

posters have been an important part of Lulić’s artistic production. Far from being an unwanted

additional task or just a laboured attempt to pitch his work, these posters are a principled aspect of

his practice. This overview of his posters and other printed matter is designed to facilitate the

visitors’ approach to Lulić’s work. Themes that are relevant for his work are spelt out here as is the

date of their first appearance. The pivotal importance of language and staging becomes immediately

manifest.

Monument to Movement, 2013–2016


Language and text are core elements of Lulić’s work as an artist. Monument to Movement opens up

the possibility of several distinct interpretations, including

a monument to movement per se,

a monument to a movement, in the political sense of the word or

an immobile, static monument is being transformed into something mobile.

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It is left to the observer to decide which interpretation makes the most sense. All three – and there

are of course others as well – are perfectly adequate. What becomes apparent here is that games

are being played with meaning and that they form a thread running through the artist’s oeuvre.

Traditional interrelationships change and objects, pictures or concepts open up for a new reading.

Here an artistic technique is seen at work that is central to Lulić’s work: he transfers objects to a new

environment or disrupts their traditional use in order to charge a given reality that we believe is

utterly familiar to us with newmeaning.

PENTHOUSE / HALUDOVO HOTEL

Hart und weich Nr.1 [Hard and Soft No.1], 2002

Hart und weich Nr.2 [Hard and Soft No.2], 2002

A Shelter from a Sunny Day, 2003

Collection of the MAK Museum fur angewandte Kunst, Wien



Dejan Karaklajić and Jovan AćinMi neprodajemo holivud [We Don’t Sell Hollywood], 1972

16mm film, transferred to video

Yugoslav Film Archive, Belgrade

Three installations related to the Haludovo hotel complex are on display at the LENTOS. Opened in

1972, this hotel complex was located in Malinska on the Croatian island of Krk at a time when

Croatia was still part of communist, but non-aligned Yugoslavia. Haludovo was a joint venture

involving a local selfmanaged company and the American Bob Guccione, founder and editor of the

soft porn magazine Penthouse. That such a joint venture was possible in the first place goes to

show what a position on the political chessboard non-aligned Yugoslavia occupied at the time: as a

communist country it was nevertheless outside the Eastern Bloc. Lulić created several installations

that refer to architectural fragments of the hotel complex, which was originally designed by Boris

Magaš: the wooden ceiling of the hotel bar, the concrete open-air swimming pool and its sun roof

are all transformed into sculptural installations. Lulić’s installations are presented together with a

short, Mi neprodajemo holivud [We Don’t Sell Hollywood], which documents the opening of the hotel

complex. In it locals from the island rub shoulders with representatives of the international jetset,

including Penthouse Girls, and local Communist politicians and staff members of the hotel hobnob

with the capitalist editor of Penthouse, who is addressed as Comrade Guccione.9

What was uppermost in the artist’s mind for this group of works was more than formal

considerations. In addition to aesthetic and spatial aspects, Lulić addresses here the ideological

background that exerts such a powerful influence on form. He started his research on Haludovo at a

time long before Yugoslav modernism became a catchword in the international art discourse. Lulić

deals here with modernity, ideology, the Cold War, body politics and economy in a project that

articulates itself in several spatial works on display at the LENTOS as installations: Hart und weich

Nr.1 [Hard and Soft No.1], Hart und weich Nr.2 [Hard and Soft No.2] and A Shelter from a Sunny

Day.

MODERNE/MODERNITY IN YU

Improved Partisan MonumentsImproved Partisan Monument (Kozara), 2001/2017

Improved Partisan Monument (Kragujevac), 2001

Improved Partisan Monument (Kosmaj, polychromatic), 2005/2010

Improved Partisan Monument (Kosmaj), 2005/2016

Metallic, 2002

Improved Partisan Monument (Jasenovac), 2002

Courtesy Gabriele Senn Gallery, Vienna and the artist, Private collection, Berlin



Collection Neff, Frankfurt

evn collection, Maria Enzersdorf, Austria

Abstract sculptures found in various locations in former Yugoslavia served Lulić as points of

departure for his Improved Partisan Monument. These communist monuments, designed to

commemorate antifascist resistance, underwent a metamorphosis in Lulić’s hands that deprived

them of their monumentality and their original materiality. An excellent case in point is Improved

Partisan Monument (Jasenovac), an orange chipboard sculpture based on the monument at the

Jasenovac Memorial. The Memorial is grey, absolutely huge and marks the site of the largest

concentration camp on Croatian soil in World War II. Designed by architect Bogdan Bogdanović and

cast in concrete, it was erected in 1966 in memory of all those who were held captive or murdered

there by the fascist Ustasha regime. Relying on an abstract formal language, Bogdanović kept the

figurative sculptural style of Socialist Realism at bay and invoked instead the modernism of pre-war

avant-gardes. Lulić analyses the characteristics of these monuments and demonstrates that there is 10

no single modernity, but many different modernities. In the case of Yugoslavia its specific form of

modernity had to do with the country’s geopolitical location: the proximity to artistic developments

outside the Eastern Bloc tied in nicely with the anti-Stalinist policy of the Communist founder of

Yugoslavia, Josip Broz Tito (1945–1980). Tito was not only President of Yugoslavia, but also

Secretary General of the global Movement of Non-Aligned States from 1961 onward. It was the

Third Way of non-alignment that seemed to hold out the promise for Yugoslavia to be able to steer

clear of both the American and the Soviet military and economic blocs. This put Yugoslav artists into

a position where they could travel freely and cultivate direct contacts with both West and East

European colleagues, get to know their work and develop their own formal language, which is in

evidence in many partisan monuments.

Bife Tito, 2001

Belvedere, Vienna

“Bife” is the Croatian word for “buffet”. In addition, it serves as one of the synonyms for “pub” so that

Bife Tito might also be translated as “Tito’s Pub”. Even without the title, the height of the object

makes it strongly reminiscent of the bar in a pub. The bar takes the form of one half of the bridge

that has linked Croatia’s mainland with the island of Krk since 1980. The length of the bridge – 1,450

metres – and its self-supporting concrete arch were celebrated as an architectural achievement at

the time. Lulić transforms Tito’s technologically advanced concrete bridge, which, incidentally, is

currently being refurbished, into a bar made of medium-density fibreboard. Both the title and the

object itself can be read as a reference to a defunct system, whose remains are still

extant, awaiting discussion. Bife Tito was put on display for the first time in 2001 in Atelier Augarten,

where Lulić was in charge of the themed room “Kunst und Kalter Krieg” [Art and the Cold War] of the

exhibition Objekte. Skulptur in Österreich nach 45

[Objects. Sculpture in Austria after 45].

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Entertainment Center Mies (orange), 2003

Walter, 2003/2017

Private collection, Berlin

As in Improved Partisan Monuments, Lulić focuses here on monuments to anti-fascist resistance.

Instead of post-war Yugoslavia, however, the context here is the early years of the Weimar

Republic. In 1921, Bauhaus Director

Walter Gropius designed the Denkmal für die Märzgefallenen [Monument for the March Dead] in

Weimar, dedicated to the memory of the victims of the nationalist Kapp putsch in 1920. This is

Lulić’s point of reference in Walter. In 1926, architect Ludwig Mies van der Rohe designed a

monument in Berlin to commemorate Karl Liebknecht and Rosa Luxemburg, who had been

murdered by right-wing German nationalists on 15 January 1919. Both monuments use a radically

modern, abstract formal language. As models they are beyond their political content also samples of

constructivist architecture. Can an architectural shape be a vehicle for political content? Mies van

der Rohe was prepared in 1934 to accept commissions from National Socialists, who

had destroyed his Berlin monument for ideological reasons. By subjecting the material, colour and

scale of the original monuments to alterations and by attaching titles to them that are incompatible

with their political significance, Lulić succeeds in de-monumentalising the originals. They are

transformeto Walter, a model resembling a piece of furniture, and to Entertainment Center Mies.

Homage to Otti Berger, 2004

Belvedere, Vienna

Born in 1898 in Zmajevac, which was then part of the Austro-Hungarian Empire, the textile designer

Otti Berger (Otilija Ester Berger) became a Yugoslav subject in 1919. Having attended a secondary

school for girls in Vienna, she studied at the Royal Academy for Arts and Crafts in Zagreb before

becoming a student of Laszlo Moholy-Nagy and Paul Klee at the Bauhaus Dessau. In 1930 she

completed her training at the Bauhaus weaving workshop and went on to become acting director of

the workshop to replace Gunta Stolzl, who had left, and then deputy head under the new director,

Lilly Reich. In 1932 Berger herself left Dessau and set up a textile studio in Berlin. In 1936 she was

banned from all professional activities because she was Jewish. She emigrated to London with the

intention of moving on to the United States. In 1938 she went back to Yugoslavia to be with her

mother, who was seriously ill. She was unable to obtain an entry visa to the United States. In 2005,

data came to light in Yad Vashem from Russia that prove that Berger was murdered in the

concentration camp at Auschwitz on 27 April 1944. Lulić’s Homage to Otti Berger is dedicated to the

Bauhaus artist. While usually shrinking imposing monuments, he opts for a different strategy here:

he uses one of Berger’s small scale textile designs for a large curtain, a move that sheds an

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altogether new light on the artist’s work: a piece of fabric, the epitome of lightness, collapsibility and

easy transportability, is raised to the status of a monument.

PERFORMATIVE SCULPTURES

Reactivation (Circulation in Space), 2002/2004

Collection Teiser, Arnsberg

What happens when an artist takes the title of a sculpture at face value? He becomes a performing

artist. What ensues is an encounter between a human body and a static sculpture consisting of rings

of metal. The sculpture

in question is the work of Vojin Bakić, born 1915 in Croatia, and is entitled Cirkulacija u prostoru I

[Circulation in Space I]. The sculpture is located in front of Belgrade’s Museum of Contemporary Art.

The photo series conveys the clear impression that no small amount of exertion is involved in the

physical activities. Lulić performs a wide range of movements. Some of them are reminiscent of

postures associated with 1970s performance art, others of monuments to the war dead. The

performance is shot through with postures that remind one of fitness exercises or of poorly executed

yoga. The idea of getting to grips with the modernist concept of sculpture is realized

here in a way that is at the same time literal, acrobatic and informed by a sense of humour.

Reactivation (Circulation in Space) can be seen as a prototype of Lulić’s performances and his

performative videos.

Kosmaj Monument, 2015 (Blackbox)

Video, 9‘48‘‘ min.

Proposal for a Workers’ Monument, 2014 (Blackbox)


Jasenovac, 2010 (Blackbox)

Video, 9‘ min.

Space-Girl Dance 2009, 2009

Video, 3‘ min.



Aksenov Family Foundation collection


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The three videos projected in the blackbox share a similar approach in that they are collaborative

ventures where Lulić cooperates with dancers. In a choreography developed by the artist, the

dancers engage in a dialogue with a monument or a sculpture located in public space. Since 2009,

the artist has created a series of related works such as Jasenovac and Space-Girl Dance 2009. As

Improved Partisan Monuments and other modernist replicas these videos are also a form of spatial

practice aiming to assess the relationship between body and space, between body and sculpture.

While the process of grasping, of de-monumentalisation and the infusion of new meaning is similar

to the one used in the sculptural works mentioned above, the method is different. Here it is not the

shrinkage or the alteration of the object that matters but the way a sculpture or a space is

experienced by the dancers who occupy it (Proposal for a Workers’ Monument, Space-Girl Dance

2009) or the dialogue with and about a monument, which is present only in the dancers’ mind during

the performance (Kosmaj Monument, Jasenovac). Kosmaj Monument refers to a partisan monument

on Kosmaj Mountain near Belgrade. The video was shot in a modernist arts centre in Belgrade built

at about the same time as the monument. Kosmaj Monument was on display at the Spomenici

Revolucije [Monuments of the Revolution] exhibition in 2015/16,

a double solo show at the MAK Center in Los Angeles featuring Marko Lulić and Californian artist

Sam Durant.

At the invitation of the Swiss Sculpture Exhibition at Biel, historically a workingclass city, Lulić

created his Proposal for a Workers’ Monument. In 2014, this quintennial sculpture exhibition was

dedicated to the theme of Le Mouvement [Movement]. This particular edition was focused on

sculptures in the city, the use of public space and the fleeting encounters between human bodies

and inanimate permanent sculptures. Lulić’s point of departure and the venue for the choreography

of Proposal for a Workers’ Monument was the Swiss artist

Franz Eggenschwiler’s sculpture entitled Farbige Baumruine [Coloured Tree

Ruin], dating from 1975. With their movements in front and on top of the object, dancers in colourful

outfits truly took possession of the sculpture. As is the case with many of his projects, what is of key

interest to Lulić in these videos is the social space, the ideological space and the memory space,

over and above the physical space.

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Objekt für zwei PerformerInnen [Object for Two Performers], 2015/2017


The installation offers a standing invitation to observers to step inside and strike a pose. The

moment they do so, they become part of the work. The colours of the objects reflect those in Franz

Eggenschwiler’s Tree Ruin, the sculpture Lulić chose as the venue for the performance of Proposal

for a Workers’ Monument. It is conceivable, however, that individual parts of the installations were

conceived by Lulić as fragments of another disassembled modernist sculpture. Visitors find

themselves face to face with these assorted fragments and are invited to pick their way through

them. (Remade) modernity, waiting to be used as a stage.

Ohne Titel (Körperstudie 1–5) [Untitled (Body Study 1–5)], 2004–2010

Videos, 0‘57‘‘, 1‘34‘‘, 1‘12‘‘, 0‘40‘‘, 0‘58‘‘ min.


These five videos could be called tableaux vivants, products of a technique of recreating

monuments or paintings with the help of live actors that has been around since the 18th century.

What work of art could possibly have served as a source of inspiration for this group of three? Do we

see Hypnos and Thanatos carrying the dead Sarpedon or is the dead body nobody less than Christ

after the Deposition from the Cross? Iconographic traditions such as these – grounded in classical

antiquity or in Christianity – are also invoked by some of the partisan monuments cast in the formal

language of Socialist Realism. It was a monument located in Istria that

gave rise to the slapstick-like scenes enacted jointly by the artist, fellow artists and members of the

exhibition installation team. The duration of each video depended on the length of time during which

it proved possible to carrya “wounded partisan“.

ARCHITECTURE

Corner (Lulic House No.1), 2006

Lulic House No.1 (Weekend Utopia) – Model silver, 2005

MAK − Austrian Museum of Applied Arts/Contemporary Art, Vienna

Taking the form of a genuine house, Lulic House No.1 (Weekend Utopia) was a sculptural project in

the wider sense of the word. It was prefabricated according to the artist’s specifications by

Kunsthaus Bregenz and the firm Oa.sys. As in many of Lulić’s works, references to modernity play

an important part – the house is an edited remake of Frey House No.1 in Palm Springs. Lulić 15

addressed the house in several exhibitions, showing the model, interior design and abstract objects

related to the architecture of the building such as Corner (Lulic House No.1). The entire project

served the artist to articulate the question of where architecture begins and art ends – and vice

versa.

ART IN PUBLIC SPACE / POP CULTURE / IDENTITY

Modell für ein Denkmal für Migration in Perušić[Model for a Monument to Migration in Perušić], 2004

Private collection, Vienna

The caption of Model of a Monument to Migration in Perušić, “LULIĆ survived the TITANIC”, refers

to a historic event and to someone called Lulić. However, the person in question is not Marko but

Nikola Lulić, who survived the shipwreck of the Titanic as a third-class passenger. The work can be

read as the blueprint of a sculpture in the public space of a small Croatian town, Perušić, for which

there never was such a thing as a commission, or as a work of art that speaks about migration in

general terms.

Architekturmodell postrevolutionärer Spielplatz[Architectural Model of a Postrevolutionary Playground], 2006–2007


The Architectural Model of a Post-revolutionary Playground reminds one of the many monuments

that have been knocked down since 1989 and of all those severed bronze heads of dictators. By

substituting his own head for that of a dictator, Lulić shows that there is no such thing as a safe

distance when it comes to observing political history; one’s own identity is always at stake in that

context. While Lulić’s work is never lacking in historical references, the artist is concerned at the

same time with the present and the future. History is only of interest to him to the extent it can

provide a foil for the present.

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Ohne Titel (Lichtung) [Untitled (Clearance], 2010

City of Schuttorf

Clearance was a project of art in public space and came into existence through a dialogue with local

residents. Attention was paid to local social and urban conditions being taken into consideration.

The Rademacher sphere lamps, that had served for several decades as street lighting in Schuttorf,

a small town in the south-west of Lower Saxony, were due to be replaced. The reason officially cited

for this move was the EU’s Lamp Ordinance but, as Lulić realised, there was more to it than that.

The lamps’ formal language, harking back as it did to the 1970s, was a thorn in the eye of many

residents and officials of the town council. Having been invited to take part in the sculpture exhibition

raumsichten, the artist developed Clearance for the exhibition, a thought-provoking project. He

proposed to the town council to “buy back” 34 of the lamps that were about to be discarded. By way

of exchange, he would find a new use for them by integrating them into an installation in the form of

a “stand” of lamps.

Der Stoff, aus dem Träume sind [The Stuff that Dreams Are Made of], 2010

Public Art Styria

In Graz Lulić worked together with residents of Terrassensiedlung, a tiered housing estate that had

been realised as a progressive building in the 1970s. In a series of sessions in the course of half a

year, the artist developed this work with an evolving group of around thirty people. The greatest

difficulty lay in finding common ground shared by two groups of residents. There were the concrete

lovers – in some cases architects who had taken a hand in designing the housing estate and had

then moved in – and the concrete haters, who sought to ignore the building material as much as

possible and focused on the greenery on the terraces and the patios. In a complex process it proved

possible to find a significant amount of common ground: The Stuff that Dreams Are Made of.

Psychogeography, 2013

Museum Vienna

For Psychogeography, Lulić combined site-specific elements with biography and enhances both by

adding a third element, moving around in the city. For this, he borrowed the title from the founding

member of the Situationist

International, Guy Debord. In Psychogeography Lulić literally follows in the footsteps of his own life.

He pays a visit to all the houses located in various districts of Vienna where he had lived in the past

and makes rubbings of their walls on paper in what was enacted as a performance. The somewhat

old-fashioned frottage technique was chosen deliberately, since it enables the artist to invoke certain 17

epochs of 20th century art history such as Surrealism and Abstract Expressionism, movements that

put a great deal of emphasis on the unconscious and favoured automatistic drawing and painting.

Lulić’s reference to this tradition, however, is distanced and ironical as he is very far from attributing

the “sacred” role to mental processes in art endorsed by artists of the eras mentioned above.

Abbazia, 1999


Sunset und Umgebung [Sunset and Surroundings], 1997/1999

Video, 6‘ min.


Private collection, Los Angeles

Exploration and comprehension of space made possible by movement are mcentral to these two

videos. While the conceptual style of working is the same nas in the videos shown in the blackbox in

the Great Hall, there is one significant difference. Here, grasping space in the literal sense of the

word does not require the agency of the body as it does in dance, relying instead on the camera and

its movements. As in most of Lulić’s other work, what is paramount in these two videos is both the

creation of new interpretations – here notably of locations – and the explication of their (pop) cultural

significance. In Abbazia, Lulić takes a ride on Vienna’s U6 underground to Urban-Loritz-Platz. He

documents a building on the Gurtel that used to house the Abbazia cinema in the 1970s and 1980s.

The Abbazia was an arthouse cinema that specialised exclusively in martial arts films. As a child,

the artist sometimes spent entire Saturdays at the Abbazia. In the 1970s, martial arts movies offered

various minorities a cross-cultural opportunity for identification. Again, class and pop culture are

invoked, two concepts that play a key role in Lulić’s work. In Los Angeles, Lulić shot Sunset and

Surroundings, a video that references Ed Ruscha’s art book Every Building on the Sunset Strip.

Unlike Ruscha, who documented the buildings along Sunset Boulevard with his photo camera, Lulić

filmed the locale with a video camera from the car. The buildings seem to move past the observer.

As U-turns are not possible on Sunset Boulevard, it was necessary at some stage to leave the

Boulevard in order to get to the other side and film the street in the opposite direction. Lulić’s

intervention in this way earns the Sunset Boulevard title the matter-of-fact and trivial addition and

Surroundings.

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Press ImagesPress Images available for download at www.lentos.at.

Free use of press images only in conjunction with the relevant exhibition.

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Marko Lulic, Entertainment Center Mies (orange), 2003 Privatsammlung, Berlin Courtesy: Gabriele Senn Galerie, Wien und der KünstlerFoto: Stephan Lugbauer

Marko Lulic, Museum of Revolution, 2010installation view 21er Haus Belvederecollection Belvedere, Viennaphoto: Marko Lulić

Marko Lulic, Hard and soft No.1, 2002exhibition view Through Soft Concrete, Grazer Kunstverein, Graz, 2002collection of the MAK – Austrian Museum of Applied Arts, Viennaphoto: Susanne Stadler

Marko Lulic, Hard and soft No.2, 2002exhibition view Through Soft Concrete, Grazer Kunstverein, Graz, 2002collection of the MAK – Austrian Museum of Applied Arts, Viennaphoto: Susanne Stadler

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Marko Lulic, Proposal for a Workers’ Monument, 2014commissioned by Le Mouvement, Swiss Sculpture Exhibition, Biel / Bienne, 2014courtesy of Gabriele Senn Gallery, Vienna and the artist

Marko Lulic, Object for two Performers, 2015courtesy of Gabriele Senn Gallery, Vienna and the artistphoto: Iris Ranzinger

Marko Lulic, Reactivation (Circulation in Space), 2002/04courtesy of Gabriele Senn Gallery, Vienna and the artistcollection Teiser, Arnsberg


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Marko Lulic , Untitled (Clearance), 2010public arts project commissioned for raumsichtenpermanent installationCity of Schüttorfphoto: Stephan Konjer


Marko Lulic, Improved Partisan Monument (Kosmaj, polychrom), 2005/2010courtesy of Gabriele Senn Gallery, Vienna and the artistphoto: Marko Lulić

Marko Lulic , Untitled (Clearance), 2010public arts project commissioned for raumsichtenpermanent installationCity of Schüttorfphoto: Helmut Claus

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Marko Lulic, Death of The Monument, 2009 installation view Erich Hauser Foundation, Rottweil courtesy Gabriele Senn Gallery, Vienna and the artist photo: Marko Lulić

Marko Lulic, Homage Otti Berger, 2004collection Teiser, Arnsdorfphoto: Alistair Overbruck

Exhibtion viewMarko Lulić. Futurology, LENTOS Kunstmuseum Linz, 2017photo: maschekS.




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Documents

Externes Schreiben - LENTOS Kunstmuseum Linz€¦ · Web viewextant, awaiting discussion. Bife Tito was put on display for the first time in 2001 in Atelier Augarten, where Lulić