Bereich: Bildende Kunst, Theorie
NationalitätBosnien und Herzegowina
BereichBildende Kunst, Theorie
Empfehlende Institutionfrei_raum Q21 exhibition space
ZeitraumJänner 2018 - Jänner 2018
2009– 2016 PhD Theory of Arts and Media, University of Arts, Belgrade, Serbia; 2003–2005 MFA in Painting/Printmaking, Yale University School of Art,USA; 1997–2000 BFA in Studio Arts, University of Illinois at Chicago, USA;1995–1997 The School of The Art Institute of Chicago, USA.
2016 Borders of Visibility ,The Museum of Fine Arts Osijek, Croatia, curated by Valentina Radoš; 2016 Rally ‘Round the Flag of Social Justice , RedLine, Denver, USA, curated by Linda Weintraub; 2015, 12 x 12 x 12, Black Ball Projects Art Gallery, Brooklyn, New York, curated by Harriet Salmon/ Jason Tomme/Ana Wolovick; 2014 Once, There Was a Traveler, The Museum of Fine Arts Osijek, Croatia, curated by Valentina Radoš; 2014 Decoding The National Museum of Montenegro, Cetinje, Montenegro, curated by Branka Vujanović/Jonathan Blackwood; 2012 Drawing Communication, Gallery of Okinawa Prefectural University of Arts, Naha, Japan; 2011 Krieg. Kunst. Krise, KulturKontakt Austria, Galerie ArtPoint, Wien, Austria, curated by Elio Krivdić; 2009 Women Personally, Huizer Museum, Huizer, Netherlands; 2009 Video Pyramid, Guild & Greyshkul Gallery, New York, USA, curated by Ana Wolovick/Mariah Robertson
I will explore the meaning of production/productive work in a general sense and its meaning and connotations in relation to art(making). Is a productive work solely a process of production/making that results in an “auratic” (or not) artefact or can it be conceived as a research or thinking activity that an artist embarks upon? As an artist, an educator, a theoretician how do I perceive my productive work? Is complying with dominant production “ideas” complying with (and perpetuating) a dominant system that sustains them?