Mladen stilinovic bio
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AN ARTIST IS NOT TO FOLLOW THE TRAMWAY TRACKS
Victor Shklovsky, Zoo, Or Letters Not about Love ()
Nataša Ilić
Mladen Stilinović’s retrospective exhibition, ironically titled Zero for Conduct, came about after almost four decades of artistic work and only following his breakthrough on the international art scene, which, as was the case with many artists from post-socialists countries, coincided with so-called internationalization of the art world in the s. But if his artistic position in the s and s was marginal in relation to the then- dominant paradigm of &#;soft&#; modernism, for many years it is no longer so.
In critical texts on Stilinović&#;s work it has been noted often that his main preoccupation is researching the relations between language and ideology, which he maneuvers by systematically dealing with &#;big subjects&#;—pain, death, poverty, work, food, and money. His questioning of the aesthetic and social heritage of the historical avant-garde movements; the loo
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Mladen Stilinović
Croatian artist (–)
Mladen Stilinović (10 April – 18 July )[1] was a Croatian conceptual artist and one of the leading figures of the so-called "New Art Practice" in Croatia. He lived and worked in Zagreb, Croatia.[2]
Early life
[edit]Stilinović was born in Belgrade, Serbia, to father Marijan Stilinović, who early in his career was an editor of the newspaper Borba, ambassador to Argentina, and later head of Museum of Contemporary Art, Zagreb, and mother Nada Stilinović (née Popović).[3]
Career
[edit]Stilinović's works are based on the idea of social and art critique.[4] They are often witty, and come with a dose of irony and cynicism illustrated for example in his work, Money is Money, Art is Art. He was one of the founding members of the informal neo-avantgarde, Group of Six Artists (Grupa šestorice autora), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović
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Mladen Stilinović
Born in Belgrade in , Stilinović settled in Zagreb in the s. He is associated with Yugoslavian Conceptual art, having played a prominent role in the movement beginning in the s. He is the author of a complex, demanding body of work that merges ord and symbols, subverting the verbal and visual clichés of everyday life that constituted the most potent expression of ideology in the Socialist era. In , he became a member of the Group of Six Artists, which organized exhibition-actions in the street, and in the s collaborated on the project Retro-Avant-Garde with the Slovenian collective IRWIN. In the years since the collapse of Federal Yugoslavia, his work has cast an ironic, paradoxical gaze on such dominant contemporary myths as money, time, work, language and power. Stilinović’s works have been shown in private homes as well as in institutional settings including Galerija Miroslav Kraljevic, Zagreb (); Index – The Swedish Contemporary Art Foundation, Stockholm ();