He studied at the Academy of Fine Arts at the University of Zagreb and the Rijksakademie in Amsterdam. Maljković’s work is a highly controlled variant exploitation of formalist concerns.
While narrative is the driving element at the origination of a project, the artist’s varied means of visual implementation profoundly modifies and compromises its supremacy. The process of construction within a set of formal directives encrypts the narrative and postulates what Maljkovic describes as a new semantic logic. His overall project is engaged in the variable relationship between form and content in art terms, or signifier and signified, in linguistic terms; it is within this relationship that Majlkovic negotiates his formal methods and disjunctive intentions.
Virtually all of Maljković’s work is engaged with historical and technological markers that are characterized by situations both local and universal. In each, the erosion and corruption of memory are the subjects that are left for the viewer to re-organize. The subject of defective memory and the use of collage, in its more literal as well as more complex application, is a formal principle for dislocation, subtraction and juxtaposition for Maljković’s mythical “missing archive”.