Mladen Stilinovic - Galerie Frank Elbaz

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