curated by Pia Remmers

Galerie Emanuel Layr, Rome 

Sept 21 – Nov 9, 2019 

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Press Release

Stano Filko was born in 1937 and died in 2015. During his 78 years on earth, he supposedly experienced two clinical deaths. Filko's intention was to reach 100 and live until 2037, 22 more years. But death was never absolute to him. He expected to move on to the next transcendent dimension of an eternal, infinite reality.

Still, Filko was clearly caught up in the external realities of his time, living through three starkly different political systems. He remained antipodal to each of them and created his very own system in his art: complex and paradoxical, it was based neither on politics nor morals, permanently surpassing itself, an infinite stream of consciousness.

Mirrors have been an essential element of Filko’s exhibitions and environments since his early days, both to transform the visitors into living sculptures and to create a physical surface for the projection of respective contemporary conditions. They also call to mind the mirror writing by Leonardo Da Vinci, or a visualization of a reversed reality.

A robot in the pose of le penseur, blurring the sense of time (and culture and marketing); a written self-portrait proclaiming intimacy; an empty concept proposal; a transcendent feminine breast; the artist’s brain, like a relic of his earthly remains. Is it still operating?


Courtesy of the artist and Galerie Emanuel Layr, Vienna/Rome
Photos by Giorgio Benni

König Galerie, Berlin
Wyn Evans’s research focuses on language and perception, and is characterized by the use of ephemeral elements such as light and sound, the use of montage as a compositional technique, and the imaginative potential of the word, as well as the centrality of the temporal and durational dimension in the experience of a work. At Pirelli HangarBicocca, Milan
For Standby Mice Station, with the full alliterative force of his deliberately nonsensical title, the artist has imagined just such an ensemble of new sculptures and images, the latter fashioned in that anachronistic technique of wood marquetry (mostly bygone in art, now more known in the realm of furniture making). at Kunsthalle Basel
Modern Art, London
Fondazione Morra Greco, Naples
Centro Arti Visive Pescheria, Pesaro
Francesca Minini, Milan