• Poetry & Performance / The Eastern European Perspective
    22 December 2017 − 10 March 2018

    Nová synagóga, Žilina, Slovakia Poetry & Performance / The Eastern European Perspective 22/12/17 –  10/03/18 Loans by Kontakt: Vlado Martek: Ciklus Soneti / Sonnet Cycle, 1978-79 Raša Todosijević: Znak / Sign, 1971; Skulptura / Sculpture, 1971; Was ist Kunst, Patricia Hennings? / What is Art, Patricia Hennings?, 1976; Was ist Kunst, Marinela Koželj? / What is Art, Marinela Koželj?, 1978 Tamás St. Auby: Kentaur / Centaur, 1973-1975/ 2009 Curators: Sabine Hänsgen, Tomáš Glanc, Daniel Grúň Nová synagóga in Žilina presents the exhibition Poetry & Performance. The Eastern European Perspective curated by Tomáš Glanc, Daniel Grúň and Sabine Hänsgen. The exhibition brings together more than forty artists, poets and creative groups from the countries of the former Eastern Europe as well as contemporary artistic positions. The exhibition will be opened on December 22nd from 6 p.m. to 8 p.m. by a series of several performances and will run until March 10th 2018. In the second half of the twentieth century, poets and artists in particular took up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the “made-ness” of language, its material and medial dimension, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out. In Eastern Europe, poetry and performance played a significant role in the unofficial or partially tolerated cultural scene. The writing practice of samizdat and its relation to the devices of concrete and visual poetry have been treated and presented in a number of previous projects. Until now however, less consideration has been given to the circumstances of performance. In addition to the typescript literature of samizdat, subcultural milieus attached particular importance to the oral recitation of poems, exhibitions, and poetry actions. The interrelation between text and situation in poetic acts functioned as a trigger for performances and happenings. The exhibition presents authors from subcultures in socialist states along with contemporary positions that continue the legacy of combining poetry and performance. It shows the efforts of poets and artists to break free from controlled language and normative communicative now and then. Poetry & Performance. The Eastern European Perspective thus confronts the current social challenges in the post-socialist countries through the prism of language and ideology and looks back at their points of departure. Artists: Milan Adamčiak, Pavel Arsenev, Babi Badalov, Bosch+Bosch (Attila Csernik, Slavko Matković, László Szalma), Collective Actions Group, Ľubomír Ďurček, Else Gabriel / Via Lewandowsky, Rimma Gerlovina, Tomislav Gotovac, Group of Six Artists, Bohumila Grögerová / Josef Hiršal, Gino Hahnemann, Václav Havel, Jörg Herold, Semyon Khanin (Orbita), Kinship Moho (Zuzana Jasenková, Kristína Országhová, Magdaléna Scheryová), Dávid Koronczi, Katalin Ladik, Yuri Leiderman / Andrey Silvestrov, Vlado Martek, Andrei Monastyrski, Monogramista T.D, Ladislav Novák, Pavel Novotný, NSRD (Hardijs Lediņš, Juris Boiko, Imants Žodžiks), OHO Group (Nuša & Srečo Dragan, Naško Križnar), Boris Ondreička, Orange Alternative, Roman Osminkin, Ewa Partum, Bogdanka Poznanović, Dmitri Prigov, Lev Rubinstein, Nóra Ružičková / Marianna Mlynárčiková, Mladen Stilinović, Gabriele Stötzer, Tamás Szentjóby, Bálint Szombathy, Raša Todosijević, Jaromír Typlt, Jiří Valoch. Nová synagóga, Žilina, Slovakia J. M. Hurbana 220/11, 010 01 Wednesday — Sunday, 1 p.m. — 7 p.m. free entry (voluntary)


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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.


1956, Zagreb / HR, at that time Jugoslavija

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.

Lives and works in Zagreb, Croatia.

Solo Exhibitions (selected):

2010     “Sven Stilinović“, Waldinger Gallery, Osijek, Croatia

2007     “Sven Stilinović. Photo collages 1974-2005“, Multimedia Cultural Center, Split, Croatia

2006     “Sven Stilinović. Photo collages 1974-2005“, Croatian Association of Artists, Zagreb, Croatia

2005     “Dialogue“, Juraj Klović Gallery, Rijeka, Croatia

2004     “Sven Stilinović: Photographs“, O.K. Gallery, Rijeka, Croatia

2003     “Sven Stilinović: Photographs“, Media Nox Gallery, Maribor, Slovenia

2002     “Geometry of Bloodthirst“, Club Lazareti, Dubrovnik, Croatia

Group Exhibitions (selected):

2016     “Der Geist ist die Memoire“, Galerie Martin Janda, Vienna, Austria

2010     “Masqué – Magazin 4“, Bregenzer Kunstverein, Bregenz, Austria

2009     “Gender Check – Femininity and Masculinity in Eastern European Art“, MUMOK Museum moderner Kunst Stiftung Ludwig, Vienna, Austria

2007     “10 years of MMC“, Museum of Modern and Contemporary Art, Rijeka, Croatia

2006     “On Unknown Works“, Nova Gallery, Zagreb, Croatia

2005     “Collective creativity “, Kunsthalle Friedericianum, Kassel, Germany

2004     “The Monstrous“, Art Pavilion, Zagreb, Croatia

2002     “Innovations - Acquisitions“, Museum of Modern and Contemporary Art Rijeka, Rijeka, Croatia

This bibliography provides a list of books available in the
ERSTE Foundation Library

Books/Exhibition Catalogues


Stipančić, Branka, ed. 2007. O nepoznatim radovima = On unknown works : Boris Cvjetanović, Antonio Gotovac-Lauer [Tomislav Gotovac], Sanja Iveković, Željko Jerman, Julije Knifer, Vlado Martek, Dalibor Martinis, Mladen Stilinović, Sven Stilinović, Goran Trbuljak, Josip Vaništa. Dubrovnik: Art Workshop Lazareti. [Exhib. Cat., Galerija Nova Zagreb (Feb. 17-Mar. 04, 2006); Galerija Otok Dubrovnik (Mar. 11/Apr. 13/May 15, 2006); Galerija ŠKUC Ljubljana (Apr. 16-May 13, 2006)]

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