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  • WHO WAS 1968?
    28 Sept 2018 − 13 Jan 2019

    LENTOS Kunstmuseum WHO WAS 1968? Art, Architecture, Society Curated by: Hedwig Saxenhuber, Georg Schöllhammer Loans by Kontakt from: Heimrad Bäcker, Stanisław Dróżdż, VALIE EXPORT, Stano Filko, Běla Kolářová, Július Koller, Natalia LL, Karel Miler, Petr Štembera, Raša Todosijević and Goran Trbuljak A decade of eruptions, departures and redefinitions in the steel city Linz. The year I968 marks a turning point that ushered in a new era. Across Western Europe and in the United States Student protests and workers’ revolts called into question the post-war power structure itself, while Soviet tanks bulldozed the Prague Spring into the ground and signalled the end of the hope that the Eastern Bloc would open up to the West. This exhibition harks back to the echoes of I968 in Linz and Upper Austria. Embracing the arts, architecture, music, film and literature, it unfolds for the first time a synoptic map on which key figures and moments of local history – some largely unknown to this day – are accorded a place. It enables visitors to embark on exploratory trips and to survey the rich fabric of relationships and linkages that includes points of contact with international scenarios and trends. Experiments in the aesthetic field were begun with a view to escaping from the cultural stuffiness of the first two post-war decades. The participating artists include: Claudia von Alemann, Ant Farm, Heimrad Bäcker, Josef Bauer, Bill Bollinger, Dietmar Brehm, Gerd Conradt, Waltraut Cooper, Stanisław Dróżdż, Erró, VALIE EXPORT, Harun Farocki, Hans-Peter Feldmann, Stano Filko, Helmuth Gsöllpointner, Timo Huber, Johann Jascha, Martha Jungwirth, Gülsün Karamustafa, Gerhard Knogler, Běla Kolářová, Juliús Koller, Peter Kubelka, Zofia Kulik, KwieKulik, Maria Lassnig, Fritz Lichtenauer, Natalia LL, Karel Miler, Josef Nöbauer, OHO, Yoko Ono, Gina Pane, Friederike Pezold, Cora Pongracz, Chris Reinecke, Martha Rosler, Dieter Roth, Zorka Sàglovà, Dominik Steiger, Petr Štembera, Raša Todosijević, Goran Trbuljak, Tucumàn Arde, Jiřì Valoch, Agnés Varda, Peter Weibel, Hannah Wilke, Jana Želibská, Želimir Žilnik, Zünd-Up http://lentos.at/html/en/4747.aspx

Artists

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Sven Stilinović

Sven Stilinović was still a schoolboy when he started exhibiting with the Group of Six Artists on the streets of Zagreb in 1975. He was not impressed by photographic conventions he learnt at the School of Applied Arts. On the contrary, he was ironically subverting all procedures that he learnt with each and every photographic work he made in that period. Photographic enlargements of small collages in which he recycled fragments of older photographs and tiny objects, as well as series where photographs of garbage interchange in a photographic sequence with photographs of cluttered shops raise the issue of photographic motif, while in “Comparison of the development of painting and non-development of photography” (1975) he concludes that that which is offered as a history of photography does not lead to its openness and creativity. Distinct feature of his character as well as his art is resistance to all requests and laws of the system. He opposed to all forms of ideology, and mocking at and confronting the power with its own symbols is typical of many of his works: he painted a flag only in black and white relation (1983), cobbled it together with boards (1984-85) and assembled it from disposable shaving razors, from cotton wool (1984-85). Frequent references to Bakunin and his predecessors, Proudhon and Stirner, as well as De Sade, and quoting them in his works reveal a libertine tradition embraced by Stilinović. His “non-politicality” was political in an anarchistic sense. Proudhon’s idea of “no state, no power, absolute freedom of man and citizen” is reflected in his work. Stilinović especially liked to juxtapose his photographs with the texts from anarchistic thinkers, which emphasise the autonomy of personality stressing revolt as a natural creative negation which cancels all forms of alienation and affirms the innate dignity of man and his wish to realize himself completely in his work. He is prone to researching various things so his work varies from paintings of weapon to expressive installations and performances where he uses animal bones and organs.

B.S.

1956, Zagreb / HR, at that time Jugoslavija

Sven Stilinović studied at the Photography Department of the School of Applied Arts in Zagreb (Croatia). He was the member of the “Group of Six Artist” (“Grupa šestorice autora”). Stilinović worked on the scenery for theatres, television and rock concerts. He has received the prize “The Youth Salon” (“Salon mladih”) in 1990.

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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