Stano Filko

evolved into two parallel lines that are in conflict with each other and thus give rise to a productive field of tensions. The diachronic line of his work charts the realm of identity arranged into the following time-sequential mutations of his name: Filko (1937–1977), Fylko (1978–1987) = 1st Clone; Phylko (1988–1997) = 2nd Clone; Phys (1997–2019) = 3rd Clone. It reflects the turning points in the artist’s style and thematic orientation. Together with Alex Mlynárčik, Filko was a pioneer of the sociological happening (“HAPPSOC I–IV,” 1965–1968). The modes of expression to be seen in his work appeared to expand by leaps and bounds during the 1960s—running from assemblage to environment, and from graphic works printed on maps to multiplied objects, sound works, project works and text works. Along the synchronic line of his personal ontology, Filko has clustered the dimensions of space and time into a system of chakras and their five-color spectrum. As he worked on rebuilding his studio in the 1990s, he divided the architectural space into five elemental sections, thematically distinguished by the colors of the chakras.² He has defined this system, synchronic in essence and thus achronological, as a strategy of self-historicization. It embodies the chakra symbolism in these sections: red/pink represents the sphere of biology, erotica, and empiricism; green links “HAPPSOC” to Filko’s work on geopolitical maps; white stands for ontology and denotes the stages of the 1970s project entitled “A White Space in a White Space”. And blue encompasses the works of the graphic cycle “Associations”, his environments, and his artworks that explore cosmic themes. D.G.