Stano Filko (1937) was born in Veľká Hradná. In the years 1956-1960 he studied at the Secondary School of Arts and Crafts in Bratislava and continued at the Academy of Fine Arts with prof. P. Matejka (painting). The author belongs to the first generation of Slovak conceptualists and shareholders - representatives of new media.
In the early period he created figural post-Cubist compositions, realized structural assemblages and objects (eg Altars of the Present, 1964-1965), whose poetics were related to informal. In the work from 1965-1969 we can find hints of several questions, which were also dealt with by foreign authors of these tendencies (eg the concept of White Space in White Space, 1973-1974 together with M. Laky and J. Zavarský, in which we find the idea of infinite space and its interpretation through pure sensitivity). Together with A. Mlynárčik, he created proto-conceptual text declarations HAPPSOC I. and HAPPSOC II. (1965), based on the fictitious appropriation of a certain section of reality. The reversal towards the expression of one's own cosmological visions was expressed in HAPPSOC IV. (1967, invitation to space travel). The author 's idea of the universe - cosmos - appears to be markedly anthropocentric to autobiographical. Man does not appear in it only as its center, but the universe opens up in itself, it itself becomes a place of penetration, an overlap into another dimension, which in the author's work leads to dematerialization. In his works we can observe, for example, a special confrontation of the themes of the Slovak extreme and people's lives (Moje rodisko, 1969) with the contemporary view of the artist - pseudofuturology. In 1966, he wrote the manifesto Reflections on the Environment. In it, he clarifies his own views on artistic creation and the atmosphere of the time in which he lived and created. In 1969, another of his manifests was published. In it, he thinks about a plan - a project which, firstly, "is one of the last currents of art project and, secondly, comes out and follows up on happening, constructive, kinetic art, environments, minimal art, multiple ..." divide his work into three main ways: 3. White - absolute spirituality, 2. Blue - cosmology, 1. Red - biology. Gradually, he increasingly gave up manual interventions in works and created projects and installations in an impersonal technical style. Since the early 1980s, he has been painting again, often conceiving huge polyptychs as architectures of symbolic font sets (AIDS cycle, 1983-1985).
The author emigrated in 1981. In Germany, he began to create under the influence of Neue Wilde (return to painting and expressive traditions). From 1983 to 1990 he lived in New York and continued his previous career (bad painting), then returned to Slovakia. During this period, spatial installations turn into video installations (like computer-morphed subjective self-portraits). He has been exhibiting independently since 194 (Bratislava - together with L. Gajdoš and I. Vychlopen), further eg: 1967 - Prague, Bratislava; 1969 - Oldenburg (Universal Environment 1966 - 1967 and graphics). 1979 - Gdansk, 1986 - New York, 1993 - Bratislava, 2000-Košice, 2003- Bánska Bystrica. Collective eg: 1965 - Florence, 1968 - Grenoble, 1969 - Munich, Paris; 1970-Yokohama, 1971 - Buenos Aires, 1974 - Brno; 1984, 1986,1987 - New York, 1994 - Sydney, 1999 - Prague, Vienna, Queens; 2001 - Bratislava (Action Art 1965 - 1989), 2002 - Bratislava (Slovak Visual Art 1970 - 1985), 2005 - Venice (51st Biennial, Model of the World / Quadrophobia).
In 1982, he participated in the World Quadrinal of Contemporary Art Documenta in Kassel, where he exhibited manifests, photographic documentation and the car in which he emigrated - painted white. The author focuses on action art, conceptual art, new media, environmental and spatial installations. He lives and works in Bratislava.