Julius Koller

From around 1960, in response to the modernist mainstream in Slovak art, Július Koller began to develop his aesthetic position of the “antihappening.” His strategy consists in using real objects and everyday life as the predefined program for an aesthetic operation: from 1965, in texts rubberstamped on paper that refer to the context of the “anti-happening,” and then in 1967/1968 in pictures for which Koller used white latex paint instead of oils and which saw the first appearance of the question mark—the symbol of Koller’s brands of naming, or “making known,” that was later to undergo many mutations in various media and states of aggregation…

Universelle Physisch-Kulturelle Operation (Angriff)

Stano Filko and Július Koller

Július Koller regards his artistic practice since the mid-60s as a "cultural process", in which the self-initiative of the subject that is to shape future-oriented, cultural situations has a special significance. With his projects he has inscribed this kind of step-by-step, active transformation of real life into reality…

Pingpong (Pingpong Table with Panel) and other works