Mladen Stilinović Mladen Stilinović Born in 1947 in Belgrade, Serbia. Lives and works in Zagreb, Croatia. Education Autodidact Solo Exhibitions 2015 2014 2012 2011 2010 2008 2007 2006 2005 2001 1996 1994 1988 1980 1978 1979 Mladen Stilinović, MuAC, Mexico City, Mexico Pain, galerie frank elbaz, Paris, France Insulting Anarchy, Croatian Association of Artists, Pula, Croatia Mladen Stilinović, Espaivisor, Valencia, Spain White Absence, Galerie Martin Janda, Vienna, Austria Nothing Gained with Dice Nothing, E-flux, New York, USA Slijepo oružje – Bol, Galerija Greta, Zagreb, Croatia Staviti na javnu raspravu 2 / To Put on Public Debate 2, Galerija Atelje Žitnjak, Zagreb, Croatia Bijeli radovi / White Works, Galerija Zuccato, Poreč, Croatia Mladen Stilinović, Level One, GB Agency, Paris, France Mladen Stilinović, galerie frank elbaz, Frieze Masters, London, UK Zero for conduct, A rétrospective, Museum of Contemporary Art, Zagreb, Croatia Mladen Stilinović – Insulting Anarchy, Galerie Martin Janda zeigt, Zurich, Switzerland Mladen Stilinović – Sing!, Ludwig Museum, Budapest, Hungary Plane/Surface (with Patrizia Dona), Heinzelova/Držićeva, Zagreb, Croatia Mladen Stilinović – Artist’s Books, E-Flux, New York, USA Mladen Stilinović – VOX, Montreal, Canada Mladen Stilinović – I have no Time, Warsaw, Poland Crvena nit (with Vjačeslav Akhunov), Galerija Nova, Zagreb, Croatia Mladen Stilinović – Index Gallery, Stockholm, Sweden Slijepo oružje, Galerija Močvara, Zagreb, Croatia Mladen Stilinović – Vanabbe Museum, Eindhoven, Netherland Mladen Stilinović – CCA, Glasgow, UK Mladen Stilinović – Galerie in Taxis Palais, Innsbruck, Austria Mladen Stilinović – Trafo, Budapest, Hungary Mladen Stilinović (s Aernout Mik, Minerva Cuevas), Stedelijk Van Abbemuseum, Eindhoven, Netherland Mladen Stilinović – Insulting Anarchy, Kibla, Maribor, Slovenia Mladen Stilinović – Platform Garanti, Istanbul, Turkey Mladen Stilinović – About Money and Zeroes, Grazer Kunstverein, Graz, Austria Mladen Stilinović – Gallery SKUC, Ljubljana, Slovenia Mladen Stilinović – Glassstreet Gallery, Melbourne, Australia Mladen Stilinović – White Absence, The Guss Fisher-Gallery University of Auckland, New Zealand Mladen Stilinović – The Cynicsm of the Poor, Museum of Contemporary Art, Zagreb, Croatia Mladen Stilinović – North Adelaide School of Art, Adelaide, Australia Mladen Stilinović – CBD Gallery, Sydney, Australia Mladen Stilinović – Geometry of Cakes, Mala galerija – Museum of Modern Art, Ljubljana, Slovenia Mladen Stilinović – The Exploitation of the Dead, PM Gallery, Zagreb, Croatia Mladen Stilinović – Sing!, Gallery of Contemporary Art, Zagreb, Croatia Mladen Stilinović - A4, Galerija Podrum, Zagreb, Croatia Mladen Stilinović – Crveno-Roza, Galerija Podrum, Zagreb, Croatia 1976 Mladen Stilinović – Gallery Nova, Zagreb, Croatia Mladen Stilinović – Gallery SKC, Belgrade, Serbia Group Exhibitions (selection) 2015 2014 2013 2012 Art has no alternative (An Archive of Artists in Action), curated by Hajnalka Somogyi, Tranzit, Bratislava, Slovakia Factory Showroom: Idleness, Jacob Lawrence Gallery, Seattle, USA The Century of the Bed: Points of View, Galerie Ernst Hilger, Vienna, Austria Un saber realmente útil, Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain Personal Cuts, Carré d’Art – Musée d’Art Contemporain, Nîmes, France Draga umjetnost, Gallery Nova, Zagreb, Croatia I would prefer not to, Stedelijk Museum Bureau, Amsterdam, Netherlands Le Mouvement Performing the City, Biel/Bienne 2014, Swizerland Une histoire (art archi design/ des années 80 à nos jours) / A HISTORY (art architecture design, from the 80s to now), until end 2015, the collection of the Musée national d’art moderne centre Pompidou, Paris, France Politicization of Friendship, MMSU, Ljubljana, Slovenia Mladen Stilinović & Tadeo Pogacar, Espaivisor, Valencia, Spain Crime in Art, Museum of Contemporary Art, Krakow, Poland Borroworros: In Search of Symmetry, HDLU, Zagreb, Croatia Playtime, Lebenbachhaus, München, Germany artevida (politica), Casa França Brasil, Rio de Janeiro, Brazil Tabula Rasa, Muzej suvremene umjetnosti Istre, Pula, Croatia In These Great Times, Kunstnernes Hus, Oslo, Norway Atlas of Modernity – 20th and 21st Century Art Collection, Muzeum Sztuki w Lodzi, Lodzm Poland Critique and Crises. Art in Europe Since 1945, Kumu Art Museum, Tallinn, Estonia Extravagant Bodies: Extravagant Age, Klovićevi dvori Gallery, Zagreb, Croatia The Present and Presence: Repetition 4 - Micro-political Situations, Museum of Contemporary Art, Ljubljana, Slovenia Writing with the other hand is imagining, Cairo International Resource Center for Art, Cairo, Egypt 2013 Carnegie International, Carnegie Museum of Art, Pittsburgh, USA Do As You Like, Henie Onstad Art Centre, Hovikodden, Norway Zero Point of Meaning, Camera Austria, Graz, Austria It May Be That Beauty Has Strengthened Our Resolve, Para/Site Art Space, Hong Kong Slike od zvuka 2, 2011/2012, Pogon Jedinstvo – Galerija 90-60-90, Zagreb, Croatia Bon Travail, ARGOS Centre for Art and Media, Brussels, Belgium Spirits of Internationalism, Van Abbemuseum, Eindhoven, Netherlands For You, Muzeum Sztuki, Lodz, Poland Enduring Value? Kunsthaus, Bregenz, Austria Andando hacia adelante, contando hacia atrás / Moving forwards, counting backwards, Museo universitario arte contemporáneo, Mexico City, Mexico Muzej svinja, Galerija Kapsula; Ljubljana, Slovenia Doppio gioco / Double Game, Fondazione Bevilacqua La Masa, Venice, Italy Simulation, CEAC, Strasbourg, France No arhiv / No Archive, Muzej suvremene umjetnosti, Zagreb, Croatia Our Work is Never Over, Matadero Art Center, Madrid, Spain Ideja plakata / Idea of Posters, Muzej suvremene umjetnosti, Zagreb, Croatia Sounds Like Silence, HMKV, Dortmund, Germany You are Kindly Invited to Attend, Open Space, Vienna, Austria Parque Industrial, Galerie Luisa Strina, Sao Paulo, Brazil How Much Fascism? BAK, Utrecht Knjige umjetnika HR / Artist’s Books CRO, Galerija Academia 2011 2010 2009 2008 2007 2006 2005 2003 Moderna, Zagreb, Croatia Good Life, 53 Oktobarski salon / 53rd October Salon, Belgrade, Serbia Simplon Express, Galerie des locataires, Railway Station, Zagreb / Gallery ŠKUC, Ljubljana, Slovenia / UGC Bercy, Paris, France Repetition 2, MSUM, Ljubljana, Slovenia The Desire for Freedom. Art in Europe since 1945, Deutsches Historisches Museum, Berlin, Germany Doing what you Want, Tensta konsthall, Stockholm, Sweden Knjige umjetnika, Galerija Academia Moderna, Zagreb, Croatia Dear Art, Moderna galerija, Ljubljana, Slovenia Bleibender Wert, Kunsthaus Bregenz, Bregenz, Austria Boris Cvjetanović & Mladen Stilinović dialogue, galerie frank elbaz, Paris, France Ostalgia, The New Museum of Contemporary Art, New York, USA Internationale, MACBA, Barcelona, Spain Short images, Galerija AŽ, Zagreb, Croatia Nulta točka značenja, Umjetnički paviljon, Zagreb, Croatia Područje zastoja, Kolekcija Marinko Sudac, Brod Galeb, Rijeka, Croatia Žitnjački recepti, Umjetnost i hrana, Galerija AŽ, Zagreb, Croatia The Present and Presence, Muzej sodobne umetnosti, Ljubljana, Slovenia 2. hrvatski trijenale autoportreta, Galerija Prica, Samobor, Croatia Socijalizam i modernost, Umjetnost, kultura, politika 1950- 1974., MSU, Zagreb, Croatia Od kipa do ispovjedi – autoportret/autobiografija, Galerija Klovićevi dvori, Zagreb, Croatia The Promises of the Past, Centre Pompidou, Paris, France You are kindly invited to attend, Aanat and Zoo, Kunstsaele, Berlin, Germany Tajne izložbe, Galerija SC, Zagreb, Croatia Par lijevih cipela – povratak u stvarnost u Istočnoj Europi, MSU, Zagreb, Croatia Volume Collection – Fondazione Bevilaqua La Masa, Pallazetto Tito, Venezia, Italy Abbara Kadabra, Mardin Biennial, Mardin, Turkey Gosti na Žitnjaku, Galerija AŽ, Zagreb, Croatia Subversive film festival – Umjetnost uvijek ima posljedice, Galerija Nova/Palača Kulmer, Zagreb, Croatia Uneven Geographies – Art and Socialisation, Gallery Nottingham Contemporary, Nottingham, UK The Cult of the Artist, Hamburger Bahnhof, Berlin, Germany The Quick and the Dead, Walker Art Center, Minneapolis, USA The Making of Art, Schirin Kunsthalle, Frankfurt, Germany Istanbul Biennale, Turkey Stanje stvari, Galerija Marino Cettina, Umag, Croatia Kriza, MMC Luka, Stara tiskara, Pula, Croatia Barutana 09, Hrvatski likovni umjetnici i film, Galerija Waldinger, Osijek, Croatia Stroj za preimenovanje, Galerija Miroslav Kraljević, Zagreb, Croatia A pair of Left Shoes, Reality Check in East Europe, Kunstmuseum Bochum, Bochum, Germany As soon as I open my eyes I see a film, Museum of Modern art, Warsaw, Poland U-Turn, Copenhagen, Denmark Formalno-angažirano, MMSU, Rijeka, Croatia Oltari avangarde, Galerija Klovićevi dvori, Zagreb, Croatia Hoću kući – knjige umjetnika 1972. - 2006., Galerija Nova, Zagreb, Croatia Tvrđav@rt – komunikacije, Galerija Ružić, Slavonski Brod, Croatia Revolution I Love You, 1968. in Arts, Politics and Philosophy, Centre of Contemporary Art, Solun, Greece Documenta 12, Kassel, Germany Sydney Biennale, Australia Gray Zones, House of Art, Brno, Galerie für Zeitgenoessische Kunst, Leipzig, Germany Collective Creativity, Kunsthalle Fridericianum, Kassel, Germany Blut und Hönig - Sammlung Essl, Klosternburg, near Vienna, Austria In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel, Germany 50 Biennale di Venezia, Italy 2002 2000 1999 1998 1996 1993 1992 1979 1978 1977 1976 The Misfits, Art Moscow, Moscow, Russia In Search of Balkania, Neue Galerie am Landesmuseum Joanneum, Graz, Austria Chinese Whispers, Apex, New York, Usa After the Wall, Moderna Museet , Stockholm, Sweden Aspekte / Positionen, Museum moderner Kunst SLW, Vienna, Austria Group of Six Artists, SCCA in HDLU, Zagreb, Austria XXXVI. Annale – Odsutnost, Istarska sabornica, Poreč, Croatia The Horse who Sings, Museum of Contemporary Art, Sydney, Australia 9th Sydney Biennale, Sydney, Australia Works and Words, De Appel, Amsterdam, Netherland New Art Practice in Yugoslavia 1966 – 1978, Gallery of Contemporary Art, Zagreb, Croatia 10e Biennale de Paris, Paris, France Radovi na papiru, Galerija Doma omladine, Beograd, Serbia Confrontations, Gallery of Contemporary Art, Zagreb, Croatia Public Collections Carnegie International Museum of Art, USA Muzej suvremene umjetnosti, Zagreb Moderna galerija, Zagreb Muzej moderne i suvremene umjetnosti, Rijeka Galerija umjetnina, Split Hrvatski povijesni muzej, Zagreb Moderna galerija, Ljubljana Muzej savremene umetnosti, Beograd Muzej savremene umetnosti Republike Srpske, Banja Luka Moderna Museet, Stockholm The Art Gallery of New South Wales, Sydney Museum of Contemporary Art, Sydney Musee d’art moderne, Centre Georges Pompidou, Paris The Museum of Modern Art, New York Van Abbemuseum, Eindhoven Museum moderner Kunst Stiftung Ludwig, Wien Ludwig Museum, Budapest Neue Galerie, Graz Kontakt - der Sammlung der Erste Bank-Gruppe, Wien Fondazione Fotografia – Fondazione Cassa di Rissparmio, Modena Centro Galego de arte Contemporánea, Santiago de Compostela Mladen Stilinovic Oduzimanje nula / Subtraction of Zeros, 1993, Acrylic on panels, 14 x (18 x 13 cm), Edition 1/2 Mladen Stilinovic Money is the Root of all Evil, 1997, Acrylic on artificial silk on wooden board, 15 x 100 cm, Edition 2/2 Mladen Stilinovic Crvena nit / Fil rouge, 1980, billets de banque et fils sur soie artificielle, 32 x 105 cm Crvena nit / Red Thread, 1980, thread and banknotes on artificial silk, 32 x 105 cm Mladen Stilinovic Napad na moju umjetnost napad je na socijalizam i napredak / Une attaque contre mon art est une attaque contre le socialisme et le progrès, 1977, acrylique sur soie artificielle, 43 x 55 cm, édition de 5 + 1 ea Napad na moju umjetnost napad je na socijalizam i napredak / An attack against my art is an attack on socialism and progress, 1977, acrylic on artificial silk, 43 x 55 cm, edition of 5 + 1 AP Mladen Stilinovic Untitled (La chaise dans l’étoile),1983, Acrylic on artificial silk, 145 x 100 cm Mladen Stilinovic From Exploatation of The Dead, 1985, Acrylic on artificial silk, 100 x 140 cm Mladen Stilinovic Rijec / Mot, 1977, acrylique sur toile, 20,8 x 29 cm Rijec / Word, 1977, acrylic on canvas, 20,8 x 29 cm Mladen Stilinovic Prekrizena crvena I / Rouge barré I, 1977, acrylique sur papier, 20 x 30 cm Prekrizena crvena I / Crossed out red I, 1977, acrylic on paper, 20 x 30 cm Mladen Stilinovic Prekrizena crvena II / Rouge barré II, 1977, acrylique sur papier, 20 x 30 cm Prekrizena crvena II / Crossed out red II, 1977, acrylic on paper, 20 x 30 cm Mladen Stilinovic Moje-moje / Mon-mon, 1975, pastel sur papier, 20,8 x 29,5 cm Moje-moje / Mine-mine, 1975, pastel on paper, 20,8 x 29,5 cm Mladen Stilinovic Odnos noga kruh / La relation pied-pain, 1977 (2011), tirages jet d’encre noir et blanc, 8 x(20 x30 cm), édition non-limitée Odnos noga kruh / The foot-bread relationship, 1977 (2011), black and white inkjet prints, 8 x(20 x30 cm), open edition Mladen Stilinovic Zastava I / Drapeau I, 1977 (2011), impression jet d’encre couleur, 9 x 9 cm, édition non-limitée Zastava I / Flag I, 1977 (2011), color inkjet print, 9 x 9 cm, open edition Zastava II / Drapeau II, 1977 (2011), impression jet d’encre couleur, 9 x 12 cm, édition non-limitée Zastava II / Flag II, 1977 (2011), color inkjet print, 9 x 12 cm, open edition Zastava III / Drapeau III, 1977 (2011), impression jet d’encre couleur, 10 x 10 cm, édition non-limitée Zastava III / Flag III, 1977 (2011), color inkjet print, 10 x 10 cm, open edition Mladen Stilinovic Dvije smrti / Two Deaths, 1991, Collage: acrylic, banknote, coin on cardboard, 15 x 25 cm Dvije smrti / Deux Morts, 1991, Collage: acrylique, billet de banque, pièce sur carton, 15 x 25 cm Mladen Stilinovic Save 25 cents, 1991, Collage: acrylic, printed paper on paper, 21 x 29.5 cm Save 25 cents, 1991, Collage: acrylique, papier imprimé sur papier, 21 x 29.5 cm Mladen Stilinovic Sangue=0 / Blood=0, 2004, Collage, blood on banknote on cardboard, 14,5 x 21 cm Sangue=0 / Blood=0, 2004, Collage sang sur billet de banque sur carton, 14,5 x 21 cm Mladen Stilinovic Dvostruki prekršaj / Double Offence, 1979, Collage: pastel, sticker on banknote on cardboard, 18 x 24 cm, Open edition, Vintage Dvostruki prekršaj / Double Offence, 1979, Collage: pastel, autocollant sur billet de banque sur carton, 18 x 24 cm, Edition libre, Vintage Mladen Stilinovic Za Ad Reinhardta / For Ad Reinhardt, 1980, Collage: acrylic, banknote on cardboard, 13 x 13 cm Mladen Stilinovic Dollar Bill, 1993, Collage: banknote on cardboard, 9 x 18 cm, Edition 5/30 Dollar Bill, 1993, Collage: billet de banque sur carton, 9 x 18 cm, Edition 5/30 Mladen Stilinovic Dead Bureaucracy, (1980) 2009, Red pencil on paper, 21 x 30 cm Dead Bureaucracy, (1980) 2009, Crayon rouge sur papier, 21 x 30 cm Exhibition views Texts Mladen Stilinović, art press, March 2015 Mladen Stilinović, Le Quotidien de l’Art, December 11th 2014 Mladen Stilinović, Le Quotidien de l’Art, December 11th 2014 Mladen Stilinović, e-flux, April 22nd 2011 Mladen Stilinović, (1947, Belgrade) who started his career in the early seventies, is one of the most significant representatives of Central European neo-avant-garde art. The retrospective show in Ludwig Museum is his first exhibition of such large scale in Hungary as well as in the region, presenting his most important installations, collages, photographs, artist’s books, films, paintings and objects. Most of his films are shown in an exhibition for the first time. Throughout his diversified work, Stilinović explores ideological signs and their social aspects. His works criticise the language of politics, the institutional hierarchy within art, and the role of money and labour in society using the devices of irony, paradox and manipulation. From 1975 he was member of The Group of Six Artists with his brother and friends, whose outside exhibitions-actions were an occasion for talk about art with a public that otherwise would never have gone into a gallery. An interest in language was at the base of most of his earlier works: primarily language related with the visual sign in collages in which he used poetic speech, political and everyday expressions. In his artist’s books, Stilinović started to use slogans on the theme of work in which production and progress were celebrated, Marxist phrases about the revolution of the working class, metaphors and symbols, particularly the symbolism of red. In many of his works, like the installation Red-Pink (1970s), Stilinović attempted to have a more normal and de-ideologised use of the colour. Mladen Stilinović, Art in America, June 9th 2010 During the 1980s, he created a group of works comprised of several hundred pieces under the title, Exploitation of the Dead, in which he explored “dead signs”; i.e., emptied signs that had lost their meaning, whether they belonged to symbols of Communist ideology or to bygone artistic practices, such as the Russian avant-garde or Socialist Realism. Stilinović believes that an artist, including himself, has to be aware of the fact that using these dead symbols means exploitation. His critical interest in the social significance of money, in the rituals, conventions and ideologies that define the functions of money in society, is displayed in the Works with Money in its many facets. Sing! (1980), a work from which the exhibition took its title, shows the artist with a banknote pasted on his forehead, ironically referring to the position of an artist exposed to the functioning of society, whereby he must sing as others tell him to. The role of an artist is in the focus of several other works, such as the Artist at Work (1978), a photographic series belonging to the Ludwig Museum’s collection (being showcased at the exhibition of the collection), or the caption that has become one of his signature works, stating that AN ARTIST WHO CANNOT SPEAK ENGLISH IS NO ARTIST (1992). Accompanying to the exhibition a comprehensive catalogue is going to be published, including essays by Branka Stipančić, Igor Zabel,Georg Schöllhammer, Ellen Blumenstein, Ana Janevski and Katalin Székely The exhibition is supported by: Embassy of the Republic of Croatia in Budapest / Ministry of Culture of the Republic of Croatia Mladen Stilinović, Art in America, June 9th 2010 In 1921, working as Soviet power was being established and its principles cemented, Kazimir Malevich satired the nationalistic veneration of labor, declaring, “I want to remove the brand of shame from laziness and to pronounce it not the mother of all vices, but the mother of perfection.” In 1978, Croatian artist Mladen Stilinović? demonstrated the “lazy” method by photo-documenting himself in various states of sleep, and pointedly titled the piece Artist at Work. Following the fall of Communist Yugoslavia in 1993, Stilinović? formally expanded upon Malevich’s polemic, insisting, “There is no art without laziness.” Working at the end of a complicated but communist regime in Zagreb, Stilinović? maintained optimism for a model of art production outside of what he identified in capitalism as a commerce-intiated complex of “insignificant factors.” In spite of-or as he’d have it, because of-his preoccupation with laziness, Stilinović? is prolific in a variety of media, evidenced by and extensive output of self-published, hand-made books, currently available for interaction at New York’s E-flux gallery. Initiating viewers to the show with his penciled cursive handwriting, Stilinović? inscribes his name onto the wall, repeating beneath it a dozen times the mantra, “I have no time, I have no time, I have no time...” Nearby on a table, Stilinović?’s staple-bound book, I have no time, repeats the statement across nearly 20 pages. On the first two pages of the book, Stilinović? introduces his playful meditation on time by speaking to the reader directly, advising, “I wrote this book/ when I had no time/ the readers are requested/ to read it when they have no time.” This suggestion reflects a strategy that spans the 34 years of his book-making: wry humor that belies serious examination of the forces of regimentation and efficiency—the feeling of having “no time” for consideration, which he regards as a powerful control of various production systems. Mladen Stilinović, Art in America, June 9th 2010 Each page of Subtracting Zeros (1993) features mathematical equations multiplication and division of the number zero; the first page of Ten Fingers (1974) opens with one fingerprint in blue ink, and adds a fingerprint on each of the subsequent nine pages. Alongside that, a 2006 book entitled BAAA begins, “I am your shepherd,” followed on the next page by “I forgot my lines,” cleverly followed by blank pages. On initial glance, the publications have a naive appearance. But in installation, tables and chairs are arranged to oblige visitors to handle and read the books instead of merely passing by them. The content builds: one book lists the days of the week, followed by “bol,” the Croatian word for pain; an adjacent work lists the letters of the alphabet, similarly appended; another is a dictionary. Both the mundane manuals that the artist critiques, and Stilinović?’s technique, strike as similarly absurd. Self-publishing, and subverting the functional operations of serialized publications, was Stilinović?’s response to the Communist exclusion of unsanctioned information. Today, his methods speak to the flexibility of traditional media and distribution as it slides to conform to information technologies. Unlike many New York exhibition openings, the Artist’s Books opening was subdued. Visitors sat at tables and paged through Stilinović?’s books (those too fragile for handling were in vitrines), most of which are archival and historic. Encouraging direct involvement with archival artworks, the artist created an anti-exhibition and an anti-opening, an event that didn’t aspire to control activity or vision, and testified to Stilinović?’s ethic of opposites. Mladen Stilinovic Check list Oduzimanje nula / Subtraction of Zeros, 1993, Acrylic on panels, 14 x (18 x 13 cm) Money is the Root of all Evil, 1997, Acrylic on artificial silk on wooden board, 15 x 100 cm, Edition 2/2 Crvena nit / Red Thread, 1980, thread and banknotes on artificial silk, 32 x 205 cm Napad na moju umjetnost napad je na socijalizam i napredak / An attack against my art is an attack on socialism and progress, 1977, acrylic on artificial silk, 43 x 55 cm, edition of 5 + 1 AP Untitled, 1978, acrylic on paper, 40 x 50 cm Rijec / Word, 1977, acrylic on paper, 20,8 x 29,5 cm Prekrizena crvena I / Crossed out Red I, 1977, acrylic on paper, 20 x 30 cm Prekrizena crvena II / Crossed out Red II, 1977, acrylic on paper, 20 x 30 cm Moje-moje / Mine-Mine, 1975, pastel on paper, 20,8 x 29,5 cm Odnos noga kruh / The foot-bread relationship, 1977 (2011), black and white inkjet prints, 8 x(20 x30 cm), open edition Zastava (1) / Flag (1), 1977 (2011), color inkjet print, 9 x 9 cm Zastava (2) / Flag (2), 1977 (2011), color inkjet print, 9 x 12 cm Zastava (3) / Flag (3), 1977 (2011), color inkjet print, 10 x 10 cm Sapun / Soap, 1997, Banknote, printed paper, soap on wooden board, 24 x 24.5 cm Mobile, 1997, Banknote, thread, wood, 73 x 15 x 4 cm Sweet, 1997, Collage: acrylic, printed paper, banknote, glass on wooden board, 35 x 40 cm Charming, 1997, Collage: acrylic, printed paper, banknote, glass on wooden board, 35 x 40 cm Nice, 1997, Collage: acrylic, printed paper, banknote, glass on wooden board, 30 x 45 cm Koža – dolar / Skin – Dollar, 1997, Collage: acrylic, photography, banknote on wooden board, 32 x 32 cm From Exploatation of The Dead, 1985 Acrylic on artificial silk, 100 x 140 cm Untitled (La chaise dans l’étoile),1983 Acrylic on artificial silk, 145 x 100 cm Dvije smrti / Two Deaths, 1991, Collage: acrylic, banknote, coin on cardboard, 15 x 25 cm Save 25 cents, 1991, Collage: acrylic, printed paper on paper, 21 x 29.5 cm 0 =, 1992, Acrylic on paper, 16 x 24 cm 00, 1989, Collage with banknote on cardboard, 15 x 21 cm Sangue=0 / Blood=0, 2004, Collage, blood on banknote on cardboard, 14,5 x 21 cm, Edition 1/7 Dvostruki prekršaj / Double Offence, 1979, Collage: pastel, sticker on banknote on cardboard, 18 x 24 cm, Open edition, Vintage Za Ad Reinhardta / For Ad Reinhardt, 1980, Collage: acrylic, banknote on cardboard, 13 x 13 cm Dollar Bill, 1993, Collage: banknote on cardboard, 9 x 18 cm, Edition 5/30 Dead Bureaucracy, (1980) 2009, Red pencil on paper, 21 x 30 cm
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