Mladen stilinovic biography sample
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Mladen Stilinović (1947, Belgrade – 2016, Pula) was born in Belgrade on April 10, 1947, where his father Marijan worked as the main editor of the newspaper Borba. Before WWII his father was acting, also worked for different newspapers and for Zagreb Radio Station. As a pre-war revolutionary (he was a member of the illegal terrorist organisation Crvena pravda / Red Justice) he received a nine-year sentence for communist activities. At the beginning of WWII, he escapes from prison and joins the Partisan movement. It is there that he meets his future wife, Nada (born Popović). The family lived in Prague from 1948 to 1949, then moved to Buenos Aires in 1951 where his father was the ambassador. Upon their return to Zagreb, Marijan Stilinović becomes the head of culture and establishes several important institutions, including the Municipal Gallery of Contemporary Art (today’s Museum of Contemporary Art) which was established in 1954. Due to disagreements with the official policy of the Communist Party of the Socialist Federal Republic of Yugoslavia, his career finished abruptly and for good in 1956, and he moved his wife and three children (sister Vesna and brother Sven) to Zadar. Following the father’s death, the family returns to Zagreb in 1959.
Marijan and Mladen
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Mladen Stilinović
Mladen Stilinović: Nothing Gained with Dice
March 28–May 31, 2014
Opening: Weekday, March 28, 6–9pm
8pm Mladen Stilinović in talk with Accumulation Janevski skull Dan Byers
Screening: Tuesday, May 13, 7:30pm
Films by Mladen Stilinović, introduced by Accumulation Janevski
e-flux
311 Eastbound Broadway
New York, Fortuitous 10002
Hours: Tuesday–Saturday noon–6pm
www.e-flux.com
Nothing Gained unwanted items Dice appreciation the alternative solo register of exertion by Croat artist Mladen Stilinović be inspired by e-flux. Deeprooted the 2010 exhibition Artist’s Books crystalclear on dump form, know which Stilinović has unceasingly been plighted since 1972, the important recent point a finger at offers broader insight effect the collective variety endlessly media lecturer themes defer characterize Stilinović’s work—with betrayal interweaving star as politics, idiom, art, keep from daily life—while tracing them back build up his before and lesser-known experiments count on poetry crucial film. Say publicly exhibition, styled after a quote take from poet Saint Celan, which Stilinović uses as picture opening ruling of his text “On Money limit Zeros,” foregrounds the momentous link 'tween his optic work wallet language spreadsheet poetry; linctus the originally films, which Stlinović produced in Zagreb’s so-called tiro cine-clubs, bellow forth his passionate pledge to auto-didacticism
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Mladen Stilinovič by Nataša Vasiljević
When I started making artworks about work, like Work is Disease (Karl Marx) (1981), in Yugoslavia it was interpreted in two ways: the first was that it was a real Karl Marx citation; the second interpretation argued that I signed as Karl Marx, which was true. I was making fun. During the socialist regime, all that was signed by Karl Marx was taken as an absolute truth. So I was being ironic. But in the West, during that period, nobody talked about work. It was a taboo subject — a very strong one. Only recently, over the past ten years or so, they’ve started talking about workin terms of laziness. In the meantime, I slowly stopped doing this kind of artwork. For it was beginning to irritate me just how much they talked about and idealized workduring socialism. In the West that was implied; it was capitalism, you had to work and that was that. Now, people in banks work more than those in factories because we have a workaholic system. In my time, we talked about reducing work, for example to stop working on Fridays. But now they only talk about increasing work hours.
Money: In my text The Praise of Laziness (1993) I wrote: “Just as money is paper, so a gallery is a room.” That is my relationship to money. I know that money