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Jelena Vesić & Darinka Pop Mitic

Jelena Vesić & Darinka Pop Mitic

Bereich: Theorie, Kuratorin, Bildende Kunst

Key Facts




Theorie, Kuratorin, Bildende Kunst



Empfehlende Institution



November 2018 - Dezember 2018

Jelena Vesić is an independent curator, writer, and lecturer - based in Belgrade and working internationally.

She holds MA in Art History, Faculty of Philosophy – Belgrade; attended Curatorial Training program De Appel – Amsterdam; PhD in Theory of Arts and media, University of Arts – Belgrade exploring the technologies of curatorial knowledge production. Active in the field of publishing, research, and an exhibition practice that intertwines political theory and contemporary art, Jelena Vesić was co-editor of "Prelom — Journal of Images and Politics" (2001–2010, Belgrade), co-editor of "Red Thread" journal (Istanbul) and a member of the editorial board of "ARTMargins" (MIT Press). She has published numerous essays on curatorial practice, art historical methodology, exhibition history, and the politics of display. Her most recent book "On Neutrality" (in collaboration with Vladimir Jerić Vlidi and Rachel O'Reilly) is part of the edition Non- Aligned Modernity, dedicated to exploring different cases of the culture and politics of the Non-Aligned Movement as the most significant decolonization movement of the twentieth century. Vesić curated many exhibitions, often experimenting with frameworks, methodologies, contextual and collaborative aspects of curatorial practice. Her most recent exhibition is entitled Story on Copy and presented at the Academie Schloss Solitude, Stuttgart this year (2017);

Besides, she curated the exhibition Lecture Performance taking place in the Museum of Contemporary Art – Belgrade and Koelnisher Kunstverein – Cologne (one of the first curatorial explorations of the genre in European context); she also curated collective exhibition project Political Practices of (post-) Yugoslav Art, taking place in the Museum of History of Yugoslavia and critically examining art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia.

Darinka Pop-Mitic graduated from the Faculty of Fine Arts and studied Faculty of Political Sciences. Published in daily and weekly papers and theoretical journals. She has authored several works in public space. Lives and works in Belgrade.

Selected group exhibitions:
2014 Zehntausend Täschungen und hunderttausend Tricks, 21er Haus, Museum of Contemporary Art, Vienna, Austria;
Institute for African Studies, Moscow, Russia.
2014 27th Nadežda Petrović memorial, Who's singing over there?, Čačak, Serbia
2015 Grammar of Freedom / Five Lessons, Garage Museum of Contemporary Art, Moscow, Russia
2016 Low budget utopia/Museum of Contemporary Art Metelkova, Ljubljana, Slovenia
Selected solo exhibitions:
2009 Not so long ago, not so far away, Nova gallery, Zagreb, Croatia
2010 Working title, Belgrade Youth House gallery, Belgrade, Serbia
2010 Helsinki effect, Kontekst gallery, Belgrade, Serbia
2013 Collection 3: Searching for..., Cultural centre Belgrade art gallery, Belgrade, Serbia


The face of faithful and humble servant (working title)
This project is conceptualized as artistic-theoretical, analytic-fictional and feminist critique of the dominant practices of historicization of Yugoslav Conceptual Art based on
the well-known narrative of great-artist-and-his-work. Art historian and curator Jelena Vesić and artist and researcher Darinka Pop-Mitić since already some years ago started to examine and consider different cases and less known stories connected to the art of 1960s and 1970s, especially in the fields of exhibition history and ideological positioning of artmaking and its historicization. For this occasion we propose a joint project temporarily entitled The face of faithful and humble servant, in which we intend to observe the labour involvements and intellectual investments of different female protagonists of the Yugoslav art scene of the 1960s and 1970s in the production of the so-called New Art, that was usually branded by the male authors and enclosed into proprietary relation of great artist – significant art piece. The outcome of our research will be text and image-based artwork, including series of drawings made after documentary photographs representing selected ‘cases’ and docufictional conversation scenario, with interpretative-interventionist comments. The form of artwork is yet in the process of consideration. It will be essayistic cartoon or comic realized in the format of moving image or DIY art-book. Other possible formats are lecture-performance and mural drawing.

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