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Nemanja Cvijanović

Nemanja Cvijanović

Bereich: Bildende Kunst

Applause, 2008 © Nemanja Cvijanović

Das Kapital, 2007 © Nemanja Cvijanović

Paying My Electricity Bill, 2005 © Nemanja Cvijanović

Internationale, 2010 © Nemanja Cvijanović

Key Facts




Bildende Kunst



Empfehlende Institution

freiraum quartier21 INTERNATIONAL


Februar 2014 - Februar 2014

Nemanja Cvijanović was born in 1972 in Rijeka, Croatia, into the mixed family of SouthSlavic nations. Lives and works in Rijeka. A member of the Croatian Freelance Artists’ Association and the Croatian Associations of Artists - Rijeka and Zagreb, Association Drugo more from Rijeka, and Italian Communist Party Rifondazione Comunista.
Present on the contemporary art market under the emblem of Furini Arte Contemporanea, Delire Gallery and Samoupravna interesna zajednica - SIZ Gallery. In 1998, he graduated in Painting at the Accademia di Belle Arti di Venezia, Venice, and in 2010 he received MA in Projecting and Production of Visual Arts from the Architecture University I.U.A.V., Venice.


In his artwork Nemanja Cvijanović uses almost all the media and techniques of visual and performing arts. His work is based on conceptual / post-conceptual / setting and is developed through the practice of collective performance, the performance of interactive installations and facilities, video production and multimedia projects, painting, photography, and sound works.

His focus of interest is questioning and uncovering the mechanisms of production, manipulation and consumption of meaning in post-modern culture that is based on a critical attitude towards the ideological and aesthetic values of modernist culture and society. His criticism is manifested in the works of art based on the structural and semantic order of pre-existing works, historical events or phenomena, by means of mimesis and / or simulation as well as the use of visual meta-language. Cvijanović lucidly links past and present, parallel realities of different social systems and different artistic strategies.

Selected solo exhibitions

2013 Death to Fascism!, Tobadna 001 Cultural Cenke, Ljubl.jana, Sl
2013 W lL POTERE POPOLARE, Delire Gallery, Brussels, Belgium (forthcoming)
2012 Progetto Anonimo, Furini Arte Contemporanea, Rome, ltaly
2011 Don't Fuck with Sociat Democracyl, SKUC Gallery, Ljubljana, Slovenia
2o11 za dom sprenni - IKEA, Galeri.ja umjetnina, Split, Croatia
2011 Spomenik sje6anju na ideju o lnternacionalj, MSU Museum of Contemporary Art, Zagreb, Croatia
2011 NOT, (wlth lvan Moudov), Alberta Pane Gallery, Paris, France
2010 No, noi non simao come Lui!, Kjoskl Public Art Platform, Bassano del Grappa (Vl), ltaly
2O1o Triglav on The Adriatic See, DOPUST, Badvice, Split, Croatia
20og Collective passive performance Pop Art, Galerija SlZ, Rijeka, Croatia
2009 Applause!, Galenja VN, Zagreb, Croatia
2008 Paying my Electricity Bill, MMSU Museum of Modern and Contemporaray Art, Rijeka, Croatia
2OO8 Aplauz!, Public intervention, Operacija:Grad 2008, Zagreb, Croatia
2a08 Kronos Devouring One Of His Children, KoCA, Weimar, Germany
2OOA Ail Right, Galerija PM, Zagreb, Croatia
2007 Repetitio est mater studiorum. Alkatraz. Ljubljana. Slovenia
2OOol07 Ail right, T293, Naples, ltaly
2Oo4 Natura mofta,1293, Naples, ltaly
2004 The future here begins now, Ersteclub, Rijeka, Croalia
2003 il volto di uno, I'eco dl molti Exhibits Art Gallery, Conegliano
2oo3 One and Three Chairs, Museum NOB, Punat, Croatia
2003 Uno, J. Klovic Gallery, Rijeka, Croatia
2OO3 IQBAL, O.K. Gallery, MMC Palach, Rijeka, Croatia
Selected oroup exhibitions
2013 Victoty Obsessed, ZAMEK [CASTLE] Culture Center, Poznan, Poland
2013 Extra Large, MACRO Testaccio, Museo d'arte contemporanea, Roma, ltaly
2013 Afte: Affari, Lavoro o perditempo, Furini Arte Contemporanea, Rome, ltaly
2013 2nd Project Biennial D-0 ARK Underground, Konjic, BA
2013 T-HT Award, Museum of Contemporary Art, Zagreb, Croatia
2012 Manifesta 9, Genk, Belgium
2Ol2Transactions, Centro Cultural de Espafia en Guatemala, La Ciudad de Guatemala, Guatemala
2011 52nd October salon, Muzej 25. Maj, Belgrade, Serbia
2011 ll Belpaese deil Afte, GAMeC Museum of Modern and Contemporary Art, Bergamo, ltaly
2011 Second World, Steirischer Herbst festival, Graz, Austria,
2011 Dolomiti Contemporanee, Sass Mass - Sospirolo, ltaly
2011 Nismo zadovoljni, Poreaki anale, Pored, Croatia
2011 Un altro mondo e'possibile, Sala Dogana, CHAN, Genova, ltaly
2011 Transactions, Galeria Horrach Moya, Palma de Mallorca, Spain
2011 Lo stato dell'afte, Padiglione ltalia 54. Biennale di Venezia, Frce Port of Art, Magazzino 26, CEl, Triest, ltaly
2011 Volume collection, Museum of Modern and Contemporary Art MMSU, Rijeka / MKC, Split, Croatia
2010 Luc Tuymans: A View of Central Europe, Bruges Central Festival, Bruges, Belgium
2010 T-HT Award, Museum of Contemporary Art MSU, Zagreb, Croatia
2010 Volume collection, Fondazione Bevilacqua La Masa, Venice, ltaly
2010 Cosmogonia / Le Supernova del Collezionismo italiano, Palazzo Collicola Arti Visive - Carandente Museum, Spoleto, ltaly
2010 Sillabario, Nomas Foundation, Rome, ltaly
2010 Post Monument', XIV Biennale lnternazionale di Scultura di Carrara, Carrara, ltaly
2o1o The other side of the coin, SKUC Gattery', Ljubljana, Slovenia
2009 Viva I'ltalia, Galletia Enrico Astuni, Bologna, ltaly
2OO9 Dogna, Galerija Badva, Dom HDLU, Zagreb, Croatia
2009 Where to go? notes on transformation after 1989, < rotor > Association for Contemporary Art, Graz, Austria
2009 Crine and Punishment, Galerrja Kortil, Drugo More, Rijeka, Croatia
2008 SoftCeil, GC.AC, Monfalcone, ltaly
2oOA What About Power Retations?, Ex Ponto Festival, VZigalica / Galeri.ia Skuc, Ljubljana, Slovenia
2OO8 Articte 23, Galerija Skuc, Ljubljana, Slovenia
2008 No Future Artbus, New York, USA
2OO7 Spritz time Fondazione Bevilacqua la Masa, Venezia, ltaly
2007 ON,PiazzaG. Verdi, Bologna, Italy
20Q7 Unbound, Contemporary Art Platform, London, U.K.
2OO7 Trcnsition, Mine Yours Ours festival, Drugo More, Rijeka, Croatia
2007 Undo, Dazed Gallery, London, U.K.
2007 The Breath, ContemporaryArt Platform, London, U.K.
2007 lnbetweeness, Ex Carceri del Complesso di San Michele a Ripa, Rome, ltaly,
2007 lronia domestica, Uno sguardo curioso tra collezioni private italiane, Museion, Musum of Modern and Contemporary Art, Bolzano, ltaly
2007 Giochi Dialettici - Nemanja Cvijanovic / Jules Sprnalsch, Spazio Punctum, Rome, ltaly
2007 Every Revolution is a throw of dice, Loggia della mercanzia, Genova, ltaly
2006 The Sweetest dream: UnW and dissonance in Europe, Space, London, U.K.
2005 Untitled, Ex Faema, Milan, ltaly
2OO5 Chalupeck_'s prize, finalists exhibition, City Gallery, Prague, Check Repubblic
20oS Gemine Muse, Museo del territorio biellese, Biella, ltaly
2005 Thin line: The exhibition, the movie, Uskelds VUB & Nadine VZW, Brussels, Belgium,
2oo5 Radoslav Putar Award, GalerUa Krizic Roban, Zagreb, Croatia
20os Mars Pavillon, Giardini di Castello, Venice, ltaly
2005 Foresti a Venezia, Fondazione Bevilacqua La Masa, Venice, ltaly,
2oo5 Thin Llne 3, Viafarini, Milan, ltaly
2004 Exhibition by the students of the lX Advanced Course in Visual Arts of the FAR, Viafarini - Careof, Milan, ltaly


For this residency Nemanja Cvijanović prepared a new project. An installation that is designed as an ambient set-up with hyper-realistic details that mimic an impossible scene from the cabinet of Karl Marx by revisiting the forgotten political caricature of the Yugoslav author Zuko Džumhur. In 1951 Zuko Džumhur drew, and the Belgrade daily Borba published, a vignette showing Karl Marx at his desk in his cabinet with Stalin's portrait on the wall behind him. Džumhur probably could not imagine that this particular visual language would be interpreted as phenomenon of proto-conceptual practices.
Although in line with the then radical party programme, many communists internationalists and Russophiles found the publication of the vignette scandalous. Džumhur's work marks an end between the two types of socialism. The ending of diplomatic relations with the USSR and Stalinism represents a significant moment in the art history of the Yugoslav region. During the 1950s the "cream" of Yugoslav intellectuals and politicians decisively broke up with the "Russian school" of social realism and invested all the power in implementing art that copies values (in many cases purely aesthetic) of high American modernism. That is how the art of moderate modernism was installed into Yugoslav culture and is still present today in many parts of society. Cvijanović considers Džumhur's drawing to be the prototype of conceptual art (aware that neither theory nor art history ever dealt with this phenomenon). For this reason he decided to reproduce the scene from the drawing, but instead of putting Stalin's portrait on the wall he fills bookshelves with works of Marxist and post Marxist philosophers, theorists, sociologists, economists - interpreters of Marx's theory in general. He sets the scene in which Marx learns from popular stars like Žižek, but also from all his successors - Albert, Aronowitz, Belibar, Baudrillard, Bauman, Castoriadis, Croce, Collinwood, Delouse, Groupe, Guattari, Hall, Hardt, Heller, Hirst, Hindess, Jameson Yuliyevich Kagarlitsky, Kurtz, Laclau, Lefort, Lyotard, MacKinnon, Mouffe, Ranciere, Screpanti, Virno, Ortega and Gasset, Lukacz, Gramsci, Althusser, Lacan, Marcuse, Adorno, Morawsky, Negri, Agamben, Debord, Tarasov, Therborn, Touraine, West, etc.

Nostalgic towards historical moments of cohesion of philosophy, science, and international revolutionary political action, Cvijanović comments the indecision of the "elite" left intelligentsia in taking specific political positions in organizational terms, as a necessary precondition for the abolition of the decrepit global capitalist Empire.

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