essay about authorbibliographyartist's influences
Ex Yugoslavia
Atilla Csernik (Bačka Topola, 1951) is best known for his research in the field of visual poetry and participating in nomadic and intermediate art practice. That practice was characteristic for a group of artists gathered around the youth center Tribina mladih (The Youth Tribune) in Novi Sad, and it included performance, arte povera, ready made, interventions in space and happening. As a member of the Group Bosch+Bosch, he participated in the radical practice of Vojvodina's neo-avantgarde during late sixties and early seventies, which aimed to widen the area of art with aesthetics of shock and identification of art and life. The radicalism of the group was not directed toward the fundamental principles of the socialist society, but to the bureaucratized cultural environment. That environment imposed a paradigm of a local variant of moderate modernism through institutions and the media and resisted to any form of openness, polemicality and radical artistic expression through prohibitions and punishment. On the sidelines of Csernik's normally introverted subversive passivity in installations and performances of connecting the typoetry with the body as a subject and an object at the same time, a series of minimalist, seemingly random interventions and circumstances drawn from everyday life were in progress. That brought his practice closer to the ecstatic activism of his colleagues like Slavko Matković and Balint Szombathy. These ready-mades equally included actions and objects. Urinating on the wall with a poster of the Congress of SKJ on it rises the appropriation of a man's peeing on a public space to the level of political provocation. In the same way a misprint of reprinting the CK publication with another text has the character of an anarchist outburst, and marking of the working tools with the iconography of the dominant ideology clearly states what and who the work produces, and to whom and what it serves.