The work of Mladen Stilinović, one of the most vivacious proponents of present-day conceptual art, is brilliantly represented by his room installations such as Red-Pink.
The topic of the installation Red-Pink, which is very much one with the tautological 1970s, are the two colors, red and pink, and the manipulation of these two colors and the signs that they sublimate. Tautology and ideology interest Stilinoviæ, above all if they can be connected up with humor.
And soit is not uncommon for red to be found combined with blue and white, the colors of the national flag, and also on the artist’s underwear, simulating a sportsware stripe, and on his sexual organ as well.
Urging the desymbolization of red, the sacred color of Communism, Stilinović’s interventions sometimes transformed it into the light-minded and watered-down version of red-pink. And while he systematically dethrones red, the reverse happens with pink. Here, he elegantly puts a color out of favor in the age of Modernism back into the rather stagnant aesthetic system, mocking its rigidity and orthodoxy.