Siniša Ilić
Bereich: Bildende Kunst
Key Facts
Nationalität
SerbienBereich
Bildende KunstWohnort
BelgradEmpfehlende Institution
BMEIAZeitraum
Dezember 2016 - Dezember 2016Siniša Ilić (b.1977 Belgrade) is a visual artist also active in the field of performance art. His work includes drawing, painting, installation and video and his practice addresses social phenomena and mechanisms, exploring forms of labor, tension, social violence and states of uncertainty. Ilić collaborates with various artists and authors on a range of projects. He is a co-founder of TkH (Walking Theory) art and theory platform from Belgrade. He received Mangelos Award.
Selected exhibitions and projects:
2016. Pavilion, solo show, DOB Belgrade; Pleasure of Love, curator David Elliot, 56 October Salon, Belgrade; Debatable Screenings - Potentials within, cuator Maja Ciric, Los Angeles Times Auditorium; Museum On/Off, curator Alicia Knock, Centre Pompidou, Paris; Habits and customs of _____are so different from ours that we visit them with the same sentiment that we visit exhibitions, curator Biljana Ciric, Kadist Art Foundation, Paris
2015. Spaces for Maneuver—Between Abstraction and Accumulation, curator Biljana Ciric, 3rd Ural Industrial Biennial of Contemporary Art, Yekaterinburg; Written away, exhibition/action, curators WHW/Who How and for Whom, Nova Gallery, Zagreb; Sapore di sale, curators Mia David and Zorana Djakovic Minitti, Studio Tomaseo, Trieste; The Stranger, with BADco, Zagreb; Cabinet of Political Wonders, with Ana Vujanović, Saša Asentić, Marta Popivoda, Kampnagel, Hamburg.
2014. Missing Amount, curators Mia David and Zorana Djakovic Minitti, Kabinet, Berlin; Mundus vadit retro, work with Bojan Djordjev, curators Aleksandra Kostic and Ziga Dobnikar, Kibla Portal, Maribor; Stone, Wood and Paradise Syndrom, curator Maja Ciric, 1933 Contemporary, Shanghai; Dear Art, curators WHW/Who How and for Whom, Nova Gallery, Zagreb, Calvert 22, Gallery, London, Metelkova, Ljubljana; Who's That Singing' Over There, curator Dejan Sretenovic, Memorial Nadezda Petrovic, Cacak;
2013. Inverted House, with Tina Gverović, curators Hannah Dewar and Una Popovic, Tate Modern, London; Just what is it that makes today so familiar, so uneasy? curator Bassam el Baroni, LIAF
2012. What happened to the Museum of Contemporary Arts, curators Dejan Sretenovic, Una Popovic, Andrej Dolinka, MOCA, Belgrade
2011. Never that’s When, curator Gulsen Bal, Open space, Vienna
2010. No ifs. No buts, curators Gulsen Bal and Walter Seidl, Depot, Istanbul
<link http: sinisailic.blogspot.co.at>sinisailic.blogspot.co.at
As a departure point of artistic research Non Aligned Network I take the concept of friendship. This term I understand as a notion that evades capitalist logic of direct exchange of goods, services or goods as well as the professionalization of human relations and 'occupations'. This work examines friendship as a category whose existence depends on the broader social context. Issues that we face in our everyday life is also what interests me – in which way and capacity, in precarious conditions of life and work, individuals are willing to invest, 'without interest' their emotions, time, knowledge and political dilemmas directing them towards spaces of solidarity, thus sacrificing the economic viability of investment. The work does not focus on personal history, but the initial driver of thinking is a card found in the family archive. It is the message of the Egyptian citizen who writes in Serbo-croatian to my father - his Yugoslav friend, giving him his photo as sign of friendship and wishes him happy days. The message was decorated with naïve colorfull drawing. Card, exchanged probable in the early period of Non-Aligned Movement, served me as a trigger for question what happens to the continuity of friendship within pragmatic state-political-economic framework, and does the reality of politics randomly breaks the fragile network of potential friendships?
During my stay at the residency, I am planning to develop the concept of the work I will present, together with Tina Gverović, in April in Zagreb as a part of My Sweet Little Lamb (Everything we see could also be otherwise), series of exhibitions based on Kontakt Art Collection and curated by WHW (What, How and for Whom).