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Peter Bartoš

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Peter Bartoš has long been considered a leading and at the same time cult figure of Slovak conceptual art. He was born on April 29, 1938 in Prague. 1953-57 he studied at the High School of Art Industry in Bratislava (prof. Chovan, Fikari), 1957-65 painting at the Academy of Fine Arts in Bratislava (prof. Mudroch, Matejka, Želibský). In a demonstration, he said goodbye to traditional painting with the "Giving Out" event, which he organized at the school on Gorazdova Street in Bratislava (1965). He collaborated on several projects with Július Koller, Michal Studeny and others. in the Saloonik Gallery - Inter-exhibition polemical space. Parallel to these activities, he is interested in concentrations of matter (1966), their isolation or packaging (1967), from these works he moves to conceptual text messages and sketches. According to Richard Gregor, Peter Bartoš is "... a textbook example of someone who goes beyond the usual boundaries of fine art - he has a classical painting education and as a painter he stands out with extraordinary talent. On the other hand, new trends in art close the conventional understanding of classical art techniques, and Bartoš in this spirit, shortly after finishing studies leaves painting in a radical way - by reducing it, or by reducing its essence and nature to the artist's "first touch" with the canvas. The later shift of the center of gravity from a material work to an immaterial idea is a logical shift in this process, as well as its further radicalization, which the author undoubtedly up to the present, he strives... . Drawing - as a sketch generally represents the primary expression of conceptual creation, record of fictional or real (realized) fact, vision, project, instruction, comment, reference, situation, action and other shades. Its independent formal value is not is essential in this context.Inherently related to (and superior to) the text which it is the bearer of the same principled strategies as the drawing itself. It becomes a part of it and by completing (completing) vice versa also in the sense that the drawing takes over the role of the text, and on the contrary in other cases we perceive the text as a drawing (for example in a few examples of Bartoš's visual poetry). The author deliberately uses the drawing in hints (substitute forms) of even a childish tone, in order to suppress its creativity in this way as well, just as in all other positions of his work he tries to eliminate any aesthetic or aestheticizing reference..." From literature: 20th century , exhibition cat., SNG Bratislava, p. 77; Matuštík, R.: ... Previously. 1964-1971. Crossing borders. Považská galéria umenia. Žilina 1994.

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