Works by MIRJANA BOBA STOJADINOVIĆ spatial interventions, installations, projects CONTENTS

••• Artist statement

••• Biography

SECTION 1 - storyplace

1. Midwinter Dream or Refracting the World, 2016

2. STORYPLACE, ˝2012

3. LIBRARY, object, 2012

4. URBAN METAMORPHOSES and INCISION, two exhibitions, 2011-2012

5. Guide through Exhibitions and Cities, audio intervention in space, 2010

6. Apartment, month-long event, 2009

SECTION 2 - hema/hema

7. a Hole in the Whole, installation, 2008

8. frOM FROM TO TO, object, 2012

9. FLAG, photograph-object-text, 2008-2011

SECTION 3 - earlier work

10. GALLERY and ENTRANCE, two exhibitions, 2005-2006

SECTION 4 - projects

11. ACTOPOLIS˝, 2015-2017

12. ARTIST AS AUDIENCE, forum and book, 2010-ongoing

••• CV ARTIST STATEMENT

Shaped in a distabilized society, my works do not function within a pre-given or self-understood backdrop, but they propell questions on a miriad of relations. Through work I am interested in negotiating space and the ways it interacts with and enables BIOGRAPHY creative, social and political frequencies of everyday life; I use space as means of expression and intervention, often operating with non-gallery environments. I search for context Mirjana Boba Stojadinović (Belgrade, 1977) specificity, idiosincractic human experience of graduated and postgraduated at the Faculty of immediate surroundings and ways of shaping Visual Arts in Belgrade (2006). She also holds and sharing all aforementioned. a MFA Piet Zwart Institute, Rotterdam (NL) in At a cross-section of different mediums, key collaboration with the University Plymouth (UK) agencies in my work incorporate photography, (2008). text, sound, voice and light and their sculptural qualities resourcing situations in space. I often Since 1998 she has exhibited solo in galleries in work with and for a limited number of audiences, Serbia, in Cetinje, Montenegro and in Zagreb. experimenting with ways an experience can be The focus of her interests is space and spatial shared, often in a form of participatory projects. relations. She has used various media including photography, text, sound and objects. Independent cultural production is something that interests me greatly – I run a non-profit She has also organized and participated in organization since 2005. numerous group exhibitions in the country and abroad, including Staatlische Kunsthalle Baden- Baden/DE; Klovićevi dvori, Zagreb/CRO; National Museum of Slovenia, Ljubljana/SI; Museum of Contemporary Art Belgrade/SER; Palazzo Forti gallery of modern art, Verona/IT; Čačak/SER; TENT. Rotterdam/NL, etc. Boba is the recipient of the award of the 25th Memorial of Nadežda Petrović in 2010.

In cooperation with other artists she initiated several projects dedicated to visual art in public and private spaces, as well as with artist run organizations. Since 2010 she is an author and organizer of the forum called ARTIST AS AN AUDIENCE. At the beginning of 2014 a book dedicated to the project was published.

Most recently Boba curated the Belgrade edition of transnational project ACTOPOLIS. The project was a production by Goethe-Institut and Urbane Künste Ruhr.

She lives and works in Belgrade.

SECTION 1 storyplace

The works in this section have been produced since 2009 till last year. They are focussed on performatively communicating the relation with and to the place one finds oneself in, always a city environment. They all touch upon the time- space relation. MIDWINTER DREAM or REFRACTING THE WORLD

25 points in the gallery where a sound-recorded narrative with sounds recorded by Boba from different places in Europe is confronted with different objects and imagery. All this is happening in almost complete darkness and the audience is aided with battery-lamps. Only two visi- tors at a time can listen to the narratives.

2016, Solo exhibition at Remont Gallery, Belgrade

”MIDWINTER DREAM or REFRACTING THE WORLD is a spatial installation – carefully constructed ambiance consisting of darkness and light, sound, text and objects. It is envisioned as a space of contemplation and re-creation. Mirjana Boba Stojadinović is an artist who is continually inspired by the subject of space and all that ”sediments” in it.” Marija Radoš

The work works in the field of transmitting experiences through subtle interventions in the space of the gallery, but also in the mental space. In unlit environment you are invited to discover what is already there, but also to inscribe your desires and thoughts. Making unusual the experience of the present moment, the work is a conscience gesture to the public vulgarization of the personal experiences. By recognizing the difficult circumstances we live in for anything that is not purely survival, I make the effort to step into the darkness we are surrounded with and in it to glimpse signs of otherness.

These pebbles (the audience could touch and play with everything they found in the gallery) are telling a story of Moon rocks brought from the Apolo mission to the Moon, found and lost, faked and stolen in many corners of the Earth; so much so that the one found in Rijksmuseum in Amsterdam turned out to be fake.

A graphite pencil sharpened on both ends was found on a bench in a park. A story of Villa Cerrini in Graz on top of Schlossberg says that the owners, a French general, never lived in the house. Reports say sometimes in the house one can hear a party, even though it is impossible (the house is isolated). Perhaps the ghost of the general came to live in the house after all. Perhaps the pencil decided to search for a hand that would write with it something brilliant. (after the exhibition we discovered drawings on the wall) Immortality is a belief that the soul, or some other centre of human consciousness, outlives the death and lives again in this or some other world. Initiational immortality is a passage in a state of overall sub-humanity, where the adept leaves the field of sensuous appearance in order to live in some secret area on the edge of the earth, freed from time and space limits.

On the mantelpiece there were two porcelan vases, apparently old, white with blue ornaments. The ornaments were strangely blurred. She told me that they have been discovered aboard a ship that was bringing good from China to Holland in early XVII century. As the ship sank, the cold underwater currents and the duration on the bottom of the ocean didn’t break the vases, but did blur the enamel. STORYPLACE

2012, stories telling the reader in the public transport (tram No. 2) about the parts of the city where the transport passes through Part of the Blank Space exhibition at Mikser festival in Belgrade

Storyplace is a spatial intervention working with itself in the tramway, they have no crossing points text in public space that moves – in a tramway. with commercials whatsoever – they don’t sell nor do The tramway moves, but it moves only on the they recommend anything: these texts are something beforehand traced lines, taking us to the nearest like thoughts in a motion. place that otherwise we can reach faster or slower Through Storyplaces one can trace different as pedestrians. spatial and narrative traces transformed into visual The steadiness and routines of the everyday, the performative stories shared among people who obligations and stressful time makes the time we inhabit the same city route spatially or only temporally. spend in-between two city points we almost never Following the string of stories through the streets one spend mentally in a space we actually occupy – on passes in a tramway, evoking Belgrade historical the street, in the transport, in a historical part of the memory, Storyplace reaches for the subjectivity of city, walking or driving above the streets of ancient the moment and the experience of own presence. Romans or the main European road to Istanbul, next Storyplace was installed in one tramway No. 2, to, in front of, behind, above... all that lead to having that circles the old part of Belgrade and produces a our reality as it is today. border today called the circle of No. 2, telling a story The texts, hand-applied to rice-paper, were in its own right. installed on places for printed commercials in a tramway. They are imperfect and besides the place this is not a poem. but it is something between you and me, not belonging to anyone. we slide on the planned route, between the lines and tramway cords between the river sava and river danube between the former kafana sibiria (in the early 20th century it used to be where zvezdara municipality is – so much outside the city, that whoever went to it went as if to sibiria... ) and the zoo between the Turkish, Serbian and Jewish part of the town down the street with most beauti- yard – today a fancy park bombing was physically felt in the ground of all parts of the city ful plane trees in the city right next to fišeklija – a place next to sebilj fountain at the bot- where gun-powder used to be to the railway station in place tom of skadarlija, which is a copy sold in cones (between the state of the pond venice as it used to of the fountain from sarajevo assembly and tašmajdan) be called because of sava river swamps that used to be there through palilula-named so be- towards the main square slavija – cause 200 years ago only here, former swamp with ducks savamala-a neighbourhood inhab- ited by serbs when kalemegdan in a village outside the city, a pipe next to the sundial that got stolen was allowed to be lit, while smok- used to be occupied by turks next to manjež – originally a ing “in the city” was forbidden sava dock where goods used space for horse training in the vicinity of four green- to arrive by ships over danube, markets: palilula, bajlonijeva, and the park in its place where, where used to be the customs kalenićeva, green circus market it is said, used to be a massive and from where the goods used shooting-ground during the war to be taken via the big steps, that a block of technical faculties still exist, to the upper city where used to be a race-ground – where in the building of as yet something between a hippodrome yugoslav drama theatre used to over the stop for tramways where and an olympic stadium be housed the national theatre the drivers often leave and are during wwii and before that during away for quite a while, while the marveni square - where the cattle the first renovation of the national passengers not always patiently used to be traded theatre wait for them in the vicinity of tašmajdan grave- next to generalštab who’s recent down the slopes of the hill kale- megdan that hides a thousand secrets.

where were you when you started reading this? where are you now? where are you going? what time of the day is it? did anything special happen to you today? what trace is that going to leave on this city? LIBRARY

Object Museum of Contemporary Art Belgrade, 2012 The work has been produced for the exhibition What Happened to the Museum of Contemporary Art? A non-exhibition of documentation, art interventions and the building interior

In July 2012, it will be five years since the build- ing of the Museum of Contemporary Art has been closed to public due to reconstruction, adaptation and expansion works that have not been finished until the present day. The text written on the outside walls of the object: The MCA building – one of the most representative specifically built museum objects in Serbia, which This side is longer than this one. This wall is has also been proclaimed a cultural treasure – is in shorter. That is the knowledge that is given to us. a non-functional state of deserted construction site At times when creativity was material and legal, and is exposed to decay. within these walls there were objects that is said The project “What Happened to the Museum of to have contained signs called letters that could Contemporary Art?” declares itself as a non-exhi- transmit something that doesn’t abide to the laws bition because exhibitions cannot be organized in of the material. Today, that is something forbid- a non-museum or a defunctionalized building in den. All that cannot be traced materially, all that which there are no elementary museological and has been lost in the past is also forbidden - all technical conditions for exhibiting artworks. The that comes out of nothing, even out of a thought, non-exhibition has no form, structure and architec- out of unrestrained thinking or invention, all that ture, it follows the found condition of the building is forbidden by the Law. A sight of four dirty walls and represents a conglomerate of statements and that contain traces of something long gone - only signs randomly dispersed throughout the exhibition a look at them is treated as a criminal offense, space, which reflect, in different ways, the situation because it could stimulate imagination, whatever in which the institution is. that means. Although it can be understood as a form of protest, The Criminal Law of the Mind puts out of reach an alarm and appeal, the non-exhibition is foremost expression of any kind: thoughts, feelings, a discussion forum that opens up a series of ques- awareness, ideas through words, colours and tions that concern the relationship of the state and shapes, sounds, movements. Articulation and society towards the Museum in the actual political, expression itself is illegal now. The Law says economic, social and cultural contexts. By postulat- any work that transforms immaterial into mate- ing “the case of the Museum of Contemporary Art” rial, inducing thinking, is punishable, just as any as symptomatic, the counter-spectacle of the non- work that as a consequence leaves lived-through exhibition likewise serves as a platform for critical experience to someone else in a different time, deliberation on the general condition of the museum work that transforms a situation into a possibil- infrastructure, the cultural institutions and artistic ity of its repetition, which brings into a relation a production in Serbia. feeling and a form, something lived-through and An excerpt from the curator’s text learnt. The only way to stay out of reach of the Criminal Law of the Mind is to keep in constant As a response to the invitation to take part in the motion the spaces that contain traces of all that non-exhibition at the closed for renovation Museum has been forbidden, to keep evading the Space of Contemporary Art in Belgrade, the work Library of Silence. Don’t get me wrong, that is illegal, too. focusses on the space of the museum library as a I am writing on the outer wall of this room because place where knowledge is accumulated. there is nothing else to write on - what used to be I took photographs of all four wall of the former mu- named ‘paper’ is gone, there are also no trees be- seum library, where one can see dusty traces of the cause they encouraged rebellion. I am writing on former usage – the memory of the walls. The work the outer sides of the walls of a library in lack of I produced reconstructs the four walls of the library reading within its walls. into a micro-space one can move in space. On its outer walls there is a fiction distopian story from unspecified future. LIBRARY: how the work works in the space of the Museum URBAN METAMORPHOSES / INCISION

INCISION Solo-exhibition encompassing photographs, animations, documentation and old historical maps Belgrade Youth Cultural Centre Gallery, Belgrade, 2011

The exhibition INCISION brings into focus the way we treat the urban environment, memory, factual impact of the abrupt and almost violent changes in and emotional inheritance of Belgrade in times of the urban tissue. discontinuity. How to speak about the preservation The King Aleksandar Boulevard in Belgrade was of the city ambiance and at the same time to restore stripped of over four hundred plane trees from 26 it, regenerate it, modernize it? In which moment the February till mid-March 2010 under the excuses swing of restoration becomes its own grotesque? of renovation and controversial claims that all the I believe something bigger and deeper was torn plane trees are rotten. A big number of these trees away together with the trees: the urban environment were over one meter in diameter or more, which are received an incision in its core, in the memory of the almost a hundred year old trees, but there were also city, in all that makes it Belgrade. sprouts planted just few years before. Just before the beginning and during the action By confronting the photo-documentation of this of the tree cutting I made over 3,000 photographs, massive tree-cutting I question myself and the a very small part of which was exhibited in the audience how much such mass de-forestation is a Belgrade House of Youth Gallery due to spatial crucial change for the life in the city, its microclimate, limitations. Along with the photographs there was architectural formation and the memory of the city, the documentation about the Boulevard as a habitus and how much the removal of the trees has been that has its life for hundreds of years, its habits and justified for the purpose of the renovation of the street tradition, culturally connecting a Roman road to east and its infrastructure, which was the official excuse of with Ottoman empire to present-day oldest Belgrade the city administration for such an act. The removal boulevard. During the exhibition I collected stories of the plane trees was a trigger for thinking about the and memories related to the everyday life in the area of the Boulevard.

URBAN METAMORPHOSIS Solo-exhibition at Nadežda Petrović Art Gallery, Čačak, RS, 2012 The exhibition consisted of all new works: installations with water, words, photographs, drawings, objects and sound/voice/narrative.

The Urban Metamorphosis exhibition continues re- happened and what is one’s personal share in it. Why searching the issues of urban renewal and also the did I have such a strong emotional reaction because destruction of urban tissue that I have originally initi- of the felling of the plate trees? Why do I not like ster- ated through my Incision exhibition in the Belgrade ile and generic quality of the new Boulevard look as Youth Culture Centre gallery, using photographic well as many other new urban cores look throughout documentation and archives concerning the his- Serbia? How is this to be contemplated and acted tory, appearance and function of Kralja Aleksandra upon on a daily level? Ignore it? Accept it? Tolerate Boulevard in Belgrade. The immediate cause for the it? Rebel? How? To whom? Who cares about de- research was the felling of over four hundred dec- fending the trees in the city? What is the connection ades-old plate trees along the Boulevard in 2010; the between the trees, the city and time? How can pow- majority of the trees were over eighty years old. erlessness be visualised? At which point did urban The cultural and social context in which these two continuity become publicly censored? exhibitions emerged is simultaneously turbulent and This exhibition is reaching for a type of contem- devoid. The social framework I create in is a country plation and communication from a personal need to that has been altering its borders for decades and consider and reflect idiosyncratically a loss of some- this uncertainty reflects the broad scope of inner in- thing alive which existed before me, something that stability, opportunism and privatisation of the public had a significant duration in time and space, some- sphere. thing that had formed the world of life for generations Urban Metamorphosis in a sense broadens the and made an unsubstitutable link with the nature in scope to the symptom-like quality of these types of the city, which can hardly be compensated by plant- events (felling plate trees) as a cause for contempla- ing young plate trees that will always bear the trauma tion on being inquisitive about the city and its daily of systemic violence. life, space and time. Exiting from the pure field of The exhibition Urban Metamorphoses deals with culture into the field of the “world of life”1, where the ways how the artist searches for her voice of dis- creative process is to exit one’s own comfort zone agreement. and question oneself and the world around oneself, expressing the need to explain to oneself what had

1 Nataša Mišković, Bazari i bulevari (Bazaars and Boulevards), The World of Life in 19th century Belgrade, City of Belgrade Museum, Belgrade, 2010

Audio-piece was aired in the space “Due to frequent and sudden twists in destiny, which Belgrade had survived, the one who will write a history of Belgrade from the days of yore up to the days of our lives will find not one town to write a history of, but a chronicle of a whole series of towns which had been built at that spot above the confluence of Sava into Danube, but were torn down one after the other over the centuries. And therefore, when Teodor Vilovski called the history of Belgrade its meta- morphoses, he truly could not have thought of a more suitable name.” Mihailo S. Petrović, Belgrade One Hundred Years Ago, “Narodna Misao” Graphic Institute, Belgrade, 1930

Mobile drawings

Water-installation into which water drips, producing water circles. On the wall in the back there is a wall-drawing with words. GUIDE THROUGH EXHIBITIONS AND CITIES

2010, Audio intervention in space, 25th Nadežda Petrović Memorial, Čačak, Serbia http://25mnp.wordpress.com http://artycok.tv/lang/en-us/a-guide-through-exhibitions-and-cities/6855 This piece was awarded the Gallery Award within the 25th Nadežda Petrović Memorial

Guides usually take you somewhere, but this is not going to be the case. You are where you are. And I won’t be able to help you come where you wish to go, because I don’t know where you want to be. But there where I have been, I’m leaving you a trace.

A Guide through Exhibitions and Cities is an Following The Guide through Exhibitions and interactive work that uses an audio informing/guiding Cities one finds oneself in the space we share with system usually used in the tourist industry. Whether others, in the space that belongs only to us, and we are outdoors or indoors, the audio guide explains also to the space that belongs to no one. The piece what it is that we see, as well as that which we cannot touches upon the layers of the memory of the rooms see, but that is encoded in the space. once lived in, memories of the persons once passed Exhibited in the biennial Memorial1 exhibition in through them, but also the art works that were Čačak, the Guide through Exhibitions and Cities used present for the time of the 2010 Memorial. the space “in between”, it could be found among the Using the space as the basic reference, through artworks by other artists, among Nadežda Petrović2 the audio guide I deconstruct it with 25 stories of the and the young artists, between the history and the temporal layers of the Nadežda Petrović Gallery in future of the Memorial, between the walls of its Čačak – I deal with the traces of time in space and space, on the floor, between the windows, between traces of people in other people: past, momentary, the gaze and the ears. and future. This guidance of the visitors through the exhibition transcends the frames of the space itself, without ever leaving it.

1 Memorial Nadežda Petrović, a biennial exhibition founded in 1965, focused on the latest Yugoslavian art production, lately an international exhibition. 2 Nadežda Petrović (Čačak, Kingdom of Serbia, 1873 — Valjevo, Kingdom of Serbia, 1915) is considered the most important Serbian female painter from the late 19th and early 20th century. Educated in Munich and Paris, she dedicated lots of her energy into organizing Yu- goslav (non-existing state as yet at that time) exhibitions and art colonies. Died as a volunteer nurse during WWI. The piece in the Memorial in Čačak; the numbers are visible on the floor

The piece in Belgrade Cultural Centre Grad; the numbers are positioned on the floor APARTMENT

2009, An event in a remote apartment lasting for a month This event was produced as part of the exhibition Belgrade: Nonplaces in the Salon of Museum of Contemporary Art Belgrade, curated by Una Popović and Dušica Dražić

For the purposes of this work the space of a What all the visitors share is the space and the private apartment is used, the never inhabited before possibility to communicate their experience by apartment in one of many new buildings in Belgrade writing in the notebook, taking photographs and area. Still, it represents a very real destination for the making sound recordings. audience which is invited to visit it and concentrates The space is constituted by the relation of the the experience around it. visitors towards it; it simultaneously becomes private The audience in their relation to the space became and public by being visited by individuals who will an inseparable part of the work. The audience don’t never have utilitarian relation to it, who can only witness something that is beyond them, but they „inscribe“ themselves in that space. meet an offered situation that becomes a platform In the APARTMENT situation the function of the for a sensation. work was subsumed by the dichotomy audience- In the beginning one receives a notebook space; the work is negotiating the possibility for the containing instructions, an address and the keys to audience and the space to relate, it deals with the the apartment. Once one got there, one would find when and where and how someone interconnects an empty apartment with the exception of a pillow, and builds bonds to a particular environment and a sound-recorder, a photo-camera, and a text by how that produces a situation in space. Walter J. Ong “The Writer’s Audience is Always a Fiction”. The stay of the visitors is not documented – the trace on the sojourn is left solely by the visitor himself. After the stay, the visitor is asked to pass the notebook and the keys to the next visitor of his own choice, who will pass it to someone else, and so on. This procedure is repeated daily in the course of one month and I have no control over it. The one who has the keys has the power to do as one wishes to. All photographs have been taken by the visitors during their stay in the Apartment

SECTION 2 HEMA/HEMA

My going to study in Rotterdam in 2006 till 2008 confronted me with the untranslatability of experience. I came from Belgrade bearing the experience of the nineties and a bit of twothousands, into a city and a country whose public memory and imagination of the same period was diametrically different.

Distancing myself from the traumatic experiences since the early nineties proved to only draw me closer to them, to question and re-live them again, and try to make sense of it all. Doing that seemed very odd for my fellow researchers and tutors. Perhaps it seemed redundant for such old news.

The shibboleth word that opened this gap was HEMA, which everyone read as a name of a shop, and habitually I read it in Cyrillic as ”nema” meaning something that is missing, lacking. The sign where I saw it was in the stock- market square (Beurs), and as it happened a month after I permanently moved back to Belgrade the stock-market crashed only to open an on-going economical crisis. Amusing, isn’t it?

Inhabiting this inbetweeness became a fascination and from this experience I produced a body of work that stands on its own. A HOLE IN THE WHOLE

2008, Installation consisting of A Hole in the Whole, video; Sirens, video; SUN_CE, computer slide-show and wooden object

How does one city appear to a stranger? What are the signs and signals that one feels drawn to? How does a mundane shop-sign open up a crack between here and there; in which moment is a foreigner able to reflect and recognize his condition as such? A selection of visual and written material I piled up in the course of two years gave me an idiosyncratic perception of ‘otherness’ though sometimes very dramatic (mis)recognition of signals and signs.

A street-sign HEMA that I (mis)read as a word And yet, I cannot ascribe it all only to a momentary “nema” in Cyrillic meaning “there is no” triggered disorientation. Numerous questions gained different a series of works. This shiboleth produced a need nuances in the new environment: How to get on to set the facts from a personal rendition of recent with ‘normal’ life without disregarding the destructive history in Serbia in order that would make sense in part of me, of you? When and by whom are the the Netherlands, while considering the ambivalences. parameters of normal life constituted? How far am I ready to go in order to secure ‘good life’ for my family I was born in a country whose integrity was and myself? What is the range of my interests? disembodied in a very spectacular way. This This work is an installation with a focus on the video is something that became so much part of the work with the same title as the installation, A Hole everyday life when I was growing up that the sense in the Whole, where one sees the camera passing of the provisionality of space became something the distance from the art studio to the street sign I projected, and also recognized, in the other HEMA placed on the central Rotterdam Stock market environments. When I temporarily moved from square. The voice-over is negotiating the ways in Belgrade to Rotterdam my perception oscillated which geopolitical circumstances shape personal between the two places, new things held a strange perception–the story is personal, yet it can be seen familiarity. This led me to ask to what degree can an as universal. The video Sirens, besides the overlap experience of a place be shared? I was introduced with the mythical creatures who lure the sailors to to a spectrum of uncertainties and questions, the death with their songs, captures the sound of the principle question being: who exactly is ‘the other’ in air-sirens–the original sound of the recordings of the this setting? peaceful Rotterdam street sights. H-letter shaped object is in the original size of the letters as in the HEMA sign in the Rotterdam square. The computer slides show peaceful but spectacular sunrises above the city centre–as much as the multitude of these sights charges the installation with meaning, it also discharges it and balances it. Exhibition situation, TENT. Rotterdam A HOLE IN THE WHOLE, video, 16min This video shows a recording of a walk through Rotterdam with a female voice-over that meditates on the transgression of violence.

SIRENS, video, 10min Video recording shows tranquile daily city sights, while it has a real-time piercing sound of the rehearsals of the public-space sirens in case of danger. None of the passer-bys shows any signs of disturbance. The sirens are the recordings of the monthly try-outs happening in Rotterdam every first Monday in the month at noon sharp. One could also say they are rehearsals for a disaster.

SUN_CE, digital photographs showed on a computer as a slide- show. Over 350 photographs of sunrises over Rotterdam have been recorded from the same spot in the period of two years. The photographs overlap so that the sky-line is always the same; they show meditative observation of a city “profile” while the sun tops it one morning after another, filling it with light and colour, even through raing, clouds and fog. HEMA* is a corporate logo of a ‘very Dutch’ chain of shopping malls. HEMA in Serbian (reading it in Cyrillic alphabet as ‘nema’), means not to have any, have no, there is no (something or somebody), none; neg. of ‘to have’. First I saw the sign on the Rotterdam Stock Market Square, a stock-marked of one of the largest marine ports in the world. The work I produced around this sign was finished in 2008, shortly before the global stock-market crash.

The photographs represents the letters HEMA pressed onto the skin of my forearm. This stamp fades quickly and leaves no trace. The Dutch symbol of consumer culture in my personal rendition in a performative way realized its inexistence as a wider symbol of something that is not there. OD OD DO DO (FROM FROM TO TO)

Mobile sculpture (wood, motor) 2012

In Serbian the preposition from (somewhere) is OD and the preposition to (somewhere, someplace) is DO. Just as the verbalization of directions from—to [od—do] create a palindrome, from—to connotes a reversed action. Written in Cyrillic and spinning around its axis, od hypnotically becomes do, and do becomes od.

Oddly, in Japanese ‘do’ means a way, a road. Two versions: Left: exhibition inThird Belgrade gallery Above: exhibition in Atelier DADO, National Museum of Montenegro, Cetinje FLAG

2008-2011, Photograph, object and text

The “Flag” piece consists of a photograph, a short intimate necessity to understand the social turmoil text that explains the work and the object - a flag by in Serbia and ex-Yugoslavia that had happened size 1,60 x 3m. The work revolves around a piece during the 1990s while I was growing up, and further of orange cloth that was obtained in a flag factory on as an exploration what national/nationalistic Shipmate in Vlaardingen, Holland. The material is means elsewhere, especially in Europe and The the original cloth that Dutch national flags are made Netherlands. of. The colour orange comes from the name of the The flag represents the possibility of inscribing the Dutch royal family Oranje, which literally translates individual into the idea of common, or as Benedict as orange. Anderson put it–into the idea of “the imagined The photograph shows me wearing a jacket I community”. I make an effort not to abuse the ideology tailored and sew from precisely that piece of orange of nationalism in art, but to research it through the cloth. Upon making the documentation I unsown the personal experience of other people’s actions, of jacket and stitched back the pieces into the original the resonances of the society onto each person’s square. The stitches are visible on the cloth. level zero of thoughts and actions. This stems from This work came from an interest in the notion of the the point when social tendencies are hard to resist, national. Firstly this interest was awakened from an however, artistic practice allows embodying thoughts about resistance. The piece of orange material in front of you used to be the coat you see on the photograph, which used to be a whole piece of cloth Dutch national flags are made of, acquired in a flag factory in Vlaardingen, Holland.

SECTION 3 Earlier work

My earlier work was foremost concerned with city space as a space people share, and the intangible traces they leave behind, like shadows on the floors and on the walls. Further on I started exploring the process of exhibition building, and I started doing that by exploring the boundaries of a gallery space as a white cube, of which you will see a bit more here.

For the next ten years following this research, till recently, I broadened my interests into the art systems — the independent cultural production on one hand, and in the art audience on the other. These two interests have been dealt with in the two projects you will see at the end. The work “Gallery” presents photographs of GALLERY and parts of the outer gallery walls’ side, which are put on corresponding places on the inner sides of the same wall. What the visitor sees are ENTRANCE life-size images of parts of a restaurant, office, elevator, and man and woman restrooms. Interventions in space Happening only a month later, in the GALLERY, Gallery DOB, 2005 “Entrance” installation the visitor faces a locked ENTRANCE, Gallery FLU, 2006 front door to the gallery; it can only be entered through a back door. Once entering the gallery, the visitor finds it completely empty. The lights are on. The situation is open, completely potent, but emptied. During the lasting of the exhibition I set special lights into the gallery window and the entrance door-frame. The special lights on the entrance make a “light wall” which enables the gaze towards inside and towards outside. In both situations the gallery itself does not give any more information but exposing itself. The comparison of walls and walls is imposing itself after some observation of the gallery space: confronting two sides of the same wall also confronts two realities, which usually have no other meeting points but the wall itself – it is made to separate and by its essence it divides opposites. By feeling and exploring the surface which divides what we call ‘a gallery’ from ‘the real world’, one can see how fragile that border line actually is. In the case of ‘Gallery’ and ‘Entrance’ I am dealing with the mental image of the BORDER, and with that what divides two wholes. In the case of ‘Gallery’ it was the walls, and in the case of ‘Entrance’ it was the entrance itself, like the door to the apartment, the house, entrance like a gate, a triumph arch, like a break through to something better, higher, transcendental. My interests circulate within the frames of questioning the gallery system as a specific segment of a much wider system of professional art dealing, and especially visual and conceptual research of the gallery space as a white cube; an exploration not so much under the thesis of influence of the context in which the works are exhibited but as peculiarity itself, but as the space who’s verve today has a certain status. I am dealing with (gallery) space as a mental space.

ENTRANCE, 2006, Light installation in the win- dow of the FLU gallery in Belgrade, Belgrade GALLERY, 2005, Site-specific intervention in space. Five photographs digitally printed on large format wooden boards and lighted with spotlights. DOB gallery, Belgrade

SECTION 4 Projects

My interest in the process of the works by artists who are my contemporaries and ofthen my generation brought me to organize, produce and eventually curate (though I always see myself as an artist) projects. ACTOPOLIS IS A CALL TO ACTION AND TO CO-AUTHOR THE CITY – ACROSS DISCIPLINES, NATIONAL BOUNDARIES AND CULTURAL DIFFERENCES. ARTISTS, URBANISTS AND ACTIVISTS FROM ATHENS, BELGRADE, BUCHAREST, ANKARA/MARDIN, OBERHAUSEN, SARAJEVO AND ZAGREB JOINED FORCES IN A THREE-YEAR TRANSNATIONAL PRODUCTION LAB TO FOCUS AWARENESS ON CURRENT URBAN ISSUES, INITIATE NEW DIALOGUES AND TO TRANSFORM PLACES INTO PLAYGROUNDS OF WHAT IS POSSIBLE. THROUGHOUT 2017 A TOURING EXHIBITION WILL STOP IN ELEVEN CITIES, PROVIDING A SPACE FOR PROJECT PRESENTATIONS, DISCUSSIONS AND LOCAL ADDITIONS. ACTOPOLIS: FORMALLY INFORMAL: Belgrade Self-Organized Cultural Production

2015-2017 www.actopolis.net ACTOPOLIS | Art of Action Project by Goethe–Instituta and Urbane Künste Ruhr • Concept: Angelika Fitz • Artistic directors: Katja Aßmann, Angelika Fitz, Martin Fritz • Curators: Ana Dana Beroš, Danijela Dugandžić, geheimagentur, Ștefan Ghenciulescu/Raluca Voinea, Elpida Karaba/Glykeria Stathopoulou, Mirjana Boba Stojadinović, Pelin Tan

ACTOPOLIS BELGRADE: Curated by: Mirjana Boba Stojadinović • Participants: Aleksandar Nikolić, Aleksandra Sekulić & Ivica Đorđević, Anica Vučetić, Irena Ristić, KURS, Mariela Cvetić, Marija Radoš & Miroslav Karić (Remont), Marijana Cvetković, Nebojša Milikić & Tadej Kurepa, Nikola Radić Lucati, U10 Art Collective , Vahida Ramujkić and Noa Treister + City Guerilla, Urban Incubator

The Belgrade edition of ACTOPOLIS, titled The response the individual artists and activists gave “Formally Informal: Belgrade Self-Organised Cultural to the overall theme of Formally Informal was very Production”, was oriented towards questioning different, in keeping with the initial idea. Some of the the circumstances in which we find ourselves participants pinpointed the agency we use in facing today, looking deeply into the practices of cultural the discontinuation of culture as we know it, whether professionals and their mutual differences and historically or presently (Ristić, Radić, Cvetković, achievements, and trying to avoid imagining we are Sekulić/Đorđević, and Nikolić), others performed a unified group and understandable to one another. their practices (Vučetić, Radoš/Karić, U10, and Because we are not. Moreover, the more particular Cvetić), while a third group used activist means and specific each of us is, the more challenging and to address relationships established on the outer vital cultural production becomes. limits of the cultural field (Milikić/Kurepa, KURS, and The Belgrade edition of the ACTOPOLIS project Ramujkić/Treister). brings together fourteen artists, art groups, activists, and cultural practitioners of very different orientations, whose practices resonate with the questions of what, how, and for whom critical urban culture is produced in times of ongoing crisis, refracted through self-organised methodologies. What characterises the economy of cultural independence in Serbia fifteen years after the beginning of the century and twenty-five years after the country’s social meltdown? What is the critical potential of self-organisation in cultural practices? To what extent can self-organisation secure the autonomy of thought and action in the arts? To what extent is self-organisation an alternative to non-functional institutions and what role does neo- liberalism play in this? The term “self-organisation” is often identified as a neo-liberal term of alienation from the welfare state and a path of brutish one-way commercialisation of the arts. Yet, could it be reconceived as a daily practice for individuals (or, even better, a “multitude of singularities”) resisting ongoing processes of monopolisation in the arts and culture? The dilemma we face should definitely not be this: Should I exploit myself or should somebody else do it? In this way self- organised cultural production is forced into a particular methodology as a means to resist circumstances. Formally Informal was an attempt by non- institutional individuals – most often cultural professionals and activists who are not satisfied with the system (and systemic framework) they find themselves part of – to articulate a sense of urgency to communicate through forms of culture and art that are oriented towards the public, Images are from the final group exhibition in Belgrade with from the bottom up. One could say that on panels containing information on all seven cities a day-to-day basis these relations produce a non-commercial cultural climate of self- empowerment. ARTIST AS AUDIENCE

Forum: the audience on the visual art-works

An on-going project that started in 2010 http://razgovori.wordpress.com Boba Mirjana Stojadinović produced the concept, she is running the project and moderating the discussions. The entire documentation of all the discussions including the photo-documentation, edited audio-files and the texts on the works discussed are available at http://razgovori.wordpress.com A richly illustrated book on the project has been published in 2014.

The production of contemporary art in Belgrade is ARTIST AS AUDIENCE, as the title says, puts the diverse and very rich. Who is its audience: who sees artist in a position of the one who receives possible it and in which way? Do works of contemporary visual readings of his/her own work, and what kind of art and related fields give “food for thoughts” and impressions and traces the work leaves behind it. to whom? Which subjects do these works engage Different readings do not give a final judgement on with and in which way? Can an artwork change the work, but see it from as many different angles something in the everyday life? As a response to as possible. The forum gives a possibility to “think these questions since April 2010 there have been outloud”, to share and confront these thoughts over 30 discussions among the audience on artworks without the pretentions that there is only one real and art practices within the project/forum ARTIST AS answer and a unique way of seeing art. The forum AUDIENCE. serves as a case study of the fragile state of art and The discussions stimulate the audience to take an its reception. active part in the exchange of opinions on artworks, So far it is noticable how this forum brought more on the interrelation between the society and the attention to the reception of the works and the individual here and now, and many cultural-political audience per se, and on the other hand how the complexities of the everyday life in Serbia and audience feels compelled to share opinions and hear Belgrade which are relevant for the interpretation others. and understanding of these works, and also The forum ARTIST AS AUDIENCE is a unique contemporary art in general. project in the Balkan area which works with the The discussions pass in an exchange of opinions audience, with the multilayered interpretations among the present audience with the help of the and listening to a more than a singular voice. The moderator. The status of the “audience” equally forum strives towards articulating the art heritage belongs to everyone, with the exception of the author from a certain geographical and cultural area and of the work discussed. The discussions are not giving articulating what will become a cultural heritage. any advantage to a professional way of expressing opinions and attitudes, although it is welcome as well. Artists and projects that have been discussed within ARTIST AS AUDIENCE project include: Slavica Obradović, Milijana Istijanović, Dušica Popović, Jamesdin, Nemanja Lađić, Goran Micevski, Mariela Cvetić, Irena Ristić, Predrag Terzić, Ivan Petroivć, Saša Tkačenko, Irena Lagator Pejović (from Montenegro), Branka Kuzmanović, Milena Putnik, Bioskopi: povratak otpisanih (activist group), Danilo Prnjat, Nina Hoechtl, Goran Đorđević, Vahida Ramujkić, Dušica Dražić, The Fifth park - a battle for everydayness (exhibition and project), Nataša Teofilović, Jelica Radovanović / Dejan Anđelković, Мilorad Mladenović, Marko Crnobrnja, Miša Mladenović, Bik Van der Pol, Zoran Pantelić, Dragana Žarevac, Lana Vasiljević, Miloš Tomić, Boris Šribar, Igor Milovanović, Zoran Todorović, Nikoleta Marković, Saša Rakezić alias Aleksandar Zograf. Partner of the project: Cultural Centre REX. Couple of discussions have been realized in collaboration with the Museum of Contemporary Art Belgrade. Spaces of belgrade discussions have been: Cultural Centre REX, Museum of Contemporary Art Belgrade, Expedition InexFilm (self-organized space), Magacin in Kraljevića Marka (self-organized space), Kontekst in Mesna zajednica (self-organized space), Cultural Centre of Belgrade...

Photographs from the discussions

CV M.F.A. BOBA MIRJANA STOJADINOVIĆ 1977, Serbia/Bulgaria

a Ravanička 36, 11050 Belgrade, Serbia t/f +381.11.2411489 m +381.63.346462 e [email protected] [email protected] w bobaart.wordpress.com

EDUCATION AND LONGER RESIDENCE 2013 Narrenkastl, Frohnleiten, AU 2016 IHAG, Kulturvermittlung, Artist-in-Residence, 2012 “Urban Metamorphoses”, Nadežda Petrović Graz, AU Art Gallery, Čačak, RS 2014 City Cultural Network, Artist-in-Residence, 2011 “Incision”, Belgrade Youth Cultural Centre Graz, AU Gallery, Belgrade 2014 Kuenstlerhaus Dortmund, Micro-residency, 2011 “A Guide through Exhibitions and Cities”, KC Dortmund, DE Grad, Belgrade 2013 Rondo, Artist-in-Residence, Graz, AU 2010 “Stuck in the Sound”, Savremena Galerija, 2011 KulturKontakt Artist-in-Residence Zrenjanin, RS programme, Vienna, AU 2009 “A Hole in the Whole”, performance, Cultural 2006–2008 Piet Zwart Institute for postgraduate Centre Rex, Belgrade studies and research [MFA], Willem de Kooning 2006 “Entrance”, Faculty of Fine Arts Gallery, Academy Hogheshool Rotterdam, Rotterdam, NL / Belgrade Plymouth Faculty of Arts, Plymouth, UK 2005 “Gallery”, Belgrade Youth Cultural Centre 1997–2006 Faculty of Fine Arts, Belgrade, Gallery, Belgrade Serbia [BFA, MFA] 2003 “Punkt”, Independent Artist Association 2004 International Sommerakademie für Bildende Remont Gallery, Belgrade Kunst, Salzburg, Austria 2002 “Walkers / Whisperers = Talking to a Shadow 1997–2006 Faculty of Fine Arts, Belgrade, = Dismemberment of a Shadow”, Belgrade Youth Serbia [BFA, MFA] Cultural Centre Gallery, Belgrade 1992–1995 Secondary school in Sofia, Bulgaria 1999 “Neutrino”, Cultural Centre Gallery “Laza 1984–1992 Primary school in Belgrade, Serbia Kostić”, Sombor, RS 1998 “An Inventory of Personality”, Student Cultural Centre, Belgrade

SOLO EXHIBITIONS 2016 “Departure-Arrival”, Institute for Contemporary Art, Zagreb, CRO WORKS IN COLLECTIONS 2016 “MIDWINTER DREAM or REFRACTING National Museum of Montenegro, Cetinje THE WORLD”, Remont Gallery, Belgrade Museum of Contemporary Art Belgrade 2015 “Lost on the Move”, Likovna galerija Telenor Collection of Serbian Contemporary Art, Kulturnog centra Požega Belgrade 2015 “It will Pass”, Cultural Centre Magacin, Collection of Contemporary Gallery Zrenjanin, Serbia Belgrade Collection of Student Cultural Centre in Kragujevac, 2015 “Lost on the Move”, Atelier DADO, National Serbia Museum of Montenegro, Cetinje Collection of Cultural Centre Požega 2014 “Sound Exhibition”, Student Cultural Centre, Private collections, Serbia Kragujevac, RS AWARDS, GRANTS, NOMINATIONS Contemporary Gallery Zrenjanin, with contributions 2010 25th Nadežda Petrović Memorial Award, by Zoran Erić, Frans Willem Korsten, Sunčica Čačak Lambić-Fenjčev 2008 Shortlisted for Promotieprijs Award 2008, Catalogue, 60 pages, Serbian/English for the advancement of practice, Rotterdam, the 2008 “Rotterdam Revisited. Revisiting Belgrade”, Netherlands published by DEZ ORG, Belgrade 2003 Royal Family Karađorđević Grant, Belgrade, Catalogue/artist book, 80 pages, Serbian/ Serbia English Since 2003. Member of ULUS (Serbian Fine Art Association) SELECTED GROUP EXHIBITIONS 2016 “Arrivals / Departures”, Cultural City Network PROJECTS Graz – International House of Writers Graz + special 2015–2017 “ACTOPOLIS: FORMALLY guests, Galerie Centrum, Graz, AU INFORMAL, Belgrade Self-Organized Cultural 2016 Festival of contemporary art AKTO, Bitola, Production”, Goethe-Institut trans-national project MK in Athens, Bucharest, Belgrade, Ankara/Mardin, 2014 BALKON ZUM BALKAN, Staatlische Sarajevo, Oberhauzen, Zagreb http://www.actopolis. Kunsthalle Baden-Baden, Germany net 2014 Sound and Visions, Festival/group exhibition, 2010–ongoing “ARTIST AS AUDIENCE. Forum: Majdanpek, RS audience on visual art works”, Belgrade, Serbia 2013 “Aftermath / Changing Cultural Landscape; http://razgovori.wordpress.com” Tendencies of Engaged Post-Yugoslavian 2008 “Revisiting Belgrade”, two-day small-scale Contemporary Photography“; 2012/13/14 - National event, Hotel Kasina, Belgrade, Serbia [publication] Museum of Slovenia, Ljubljana, SI •• PARCO, 2007 “Hotel New York. Inquiry in Location”, two- Pordenone ARte COntemporanea, Pordenone, IT •• day small-scale event, Hotel New York, Rotterdam, Galerija Klovićevi dvori, Zagreb •• Podroom gallery, NL; in collaboration with Maja Bekan, Gunndís Ýr KCB, Remont gallery, Belgrade •• Bratislava •• Finnobogadóttir and Boba Cetinje •• Sarajevo •• Vienna 2006 “Autoplay“, Kontekst Gallery, Belgrade; http://aftermathsee.wordpress.com/” project participants ODA PROJESI, Turkey; H.arta, 2013 “Generation Lost”, Graz, Austria • Romania; Vizionarsko društvo, Bosnia; Kontekst Cooperation between Akademie Graz + kunst ost * galerija and DEZ ORG, Serbia Particular thanks to Café Stockwerk 2001–2002 Project “Meeting Line – Linija 2013 “Intimate Landscapes”, Flash Art Event, susreta®“ in Belgrade, with Tomas Saraceno Milano, IT (Argentina/Germany) 2012 “Errant Geographies”, Independents3, ArtVerona, Verona, IT 2012 “Out of Place_an ongoing archive” • CORPO PUBLICATIONS 6 galerie, Berlin, DE •• Independents3, ArtVerona, Verona, IT 2015. “Lost on the Move”, published by National Museum of Montenegro, Cetinje in colaboration with 2012 “Between the real and reality (topography Cultural Centre Požega. Text: Miroslav Karić of public/private space)”, Third Belgrade Gallery, Belgrade, RS Catalogue, 16 pages, Serbian/English 2012 “Italia/Serbia: Crossing”, Peraspera, 2014 “Artist as Audience: Talks Among the Bologna, IT | http://www.perasperafestival.org/index. Audience // Nina Hoechtl”, independently published php/component/content/article/50-videodrome/211- by Artist Association Frekvencija videodrome.html Booklet, 48 pages, English 2012 “What Happened to the Museum 2014 “Artist as Audience: Talks Among the of Contemporary Art? A non-exhibition of Audience”, independently published by Artist documentation, art interventions and the building Association Frekvencija interior”, Museum of Contemporary Art Belgrade, RS Book, 368 pages, Serbian 2012 “Founders of Artists Association DEZ ORG”, 2012 “Urban Metamorphoses”, published by Skladište Gallery, Subotica, RS Nadežda Petrović Gallery, Čačak. With contributions 2012 “Point Blank” (Mikser at Belef), Building of by Una Popović. Belgrade Cooperative, Belgrade, RS Catalogue, 20 pages, Serbian/English 2012 “The City”, a project-cycle of exhibitions titled 2010 “Stuck in the Sound”, published by “Cross-examination” resuming the key art practices and phenomenons in Serbia after 2000, Remont, 2001 “Permanent Happenings”, SKC Gallery, Belgrade Belgrade 2011 “Home – a collection of young serbian 2001 “Next Step”, Srem Museum, Sremska artists“, Palazzo Forti gallery of modern art, Verona, Mitrovica, Serbia IT 2001 “Artists – students”, Centre for Contemporary 2011 “Private / Public”, Skopje, MK Culture Konkordija, Vršac, Serbia 2010 25th Nadežda Petrović Memorial, Čačak, RS 2000 “No Name”, organization and participation, http://25mnp.wordpress.com Gallery of Students Cultural Centre, Belgrade http://artycok.tv/lang/en-us/i-am-what-i-am- 1999 “Dare luogo”, Gallery Miscetti, Rome 25th-nadezda-petrovic-memorial/6887 2009 “BELGRADE: NONPLACES”, Salon of Museum of Contemporary Art, Belgrade PROFESSIONAL EXPERIENCE (selection) 2008 “Post Dort”, Centrum Beeldende Kunst 2015 Production manager for Belgrade section of Dordrecht, Dordrecht, NL the preparation and realization of Jasmina Cibic’s 2008 “My Travels With Barry”, TENT. Rotterdam, video-work filming in Palace Serbia (former SIV), NL in coordination with Museum of Contemporary Art 2008 ”The Collection”, Telenor collection of Belgrade Serbian contemporary art, Cvijeta Zuzorić Art Since 2013 Running the Artist Association Pavillion, Belgrade FREKVENCIJA 2008 “Perfect Society”, Schouwburg, Rotterdam, 2012–2014 Founding member and also given NL the name/logo, design/layout of magazine for 2006 ”Keine Wunderkammer”, curated by Ivana independent culture MANEK Moncolova, C2C Gallery, Prague, Czech Republic 2012–2013 Coordinator of the Independent 2006 “Keine Wunderkammer”, HIT Gallery, Cultural Scene of Serbia Association Bratislava, Slovakia www.nezavisnakultura.net 2006 “Plus plus”, Zvono Gallery, Belgrade 2011 Production assistant for project “Historical 2006 ”Zoom to Fit”, O3ON Gallery, Belgrade Framework of the Memory” (ambiental settings for listening the voices of the past), MoCAB at Inex Film, 2005 „Real Presence – Floating sites”, Collateral Belgrade, Museum of Contemporary Art, Belgrade event of the 51. esposizione internationale d’arte, Venice, Italy 2011 Slogan, logo and design of all printed material for the festival Belgrade Independent 2005 2nd Attitude festival, Cultural Center Culture SELF-POWERED. Magaza, Bitola, Macedonia 2010 Production assistant to Zoran Todorović, 2005 „Speak up!“, Myymala2 Gallery, Helsinki, National Review of Live Art, Glasgow, UK Finland 2009–2007–2006 Producer of visual art 2004 „FLU_id“, VN Gallery, Zagreb, Croatia programme, Belgrade Summer Festival, BELEF 2004 „Galerija Doma omladine 1995–2004“, 2009 Production assistant to Zoran Todorović in Selected works from the previous decade, Belgrade the Serbian Pavilion for the 53. Venice Biennale Youth Cultural Centre Gallery, Belgrade 2005–2012 Runing the Artist Association DEZ 2004 “Artikuliranje”, BELEF 2004, Belgrade ORG 2003 “Raw”, curated by Dejan Grba, Galerie für 2004–2006 Personal assistant to artist Milica Zeitgenoessische Kunst, Cultural territories, Leipzig, Tomić, Belgrade Germany 2003 Curator of Student Cultural Centre Gallery, 2003 Project “Tuneable Cities“ by Valentina Belgrade, Serbia Ferrarese, Italy 2002 ”FLU_id II”, Belgrade Youth Cultural Centre Gallery, Belgrade 2002 !Upwardly Mobile, curated by Norman Beierle, Valentina Ferrarese and Hester Keijser, Ludwig Museum for Modern Art in Budapest, Hungary 2002 “Transition”, Space of the shop “Metalpromet – Zvuk”, Kruševac, Serbia 2002 “Tea House”, Student Cultural Centre Gallery, Belgrade BIBLIOGRAPHY text by Dragana Žarevac in a publication on the 2017 From Diaspora to Diversities, project occasion of the “A Look at Video Art in Serbia”, catalogue published by NGO Esperanza World French Cultural Centre Belgrade Culture Center, Skopje 2011 “YC ART 2010″ by Miroslav Karić, Yellow 2017 ACTOPOLIS, project catalogue published by Cab, Belgrade Goethe-Institut i Urbane Künste Ruhr 2010 Catalogue of the 25 Nadežda Petrović 2016 “Outside space Inside, From Diaspora to Memorial, http://dl.dropbox.com/u/25463037/ Diversities”, interview by Đorđe Krajišnik, newspaper katalog%2025.Memorijala.pdf Dani, Sarajevo 2010 A clip on the work “A Guide Through 2015 Shadowing the City, Hypertextualisation of Exhibitions and Cities” on Artycok, http://artycok. Urban Space, book published by Shadow Casters, tv/lang/en-us/a-guide-through-exhibitions-and- Zagreb cities/6855 2014 KulturKontakt magazine, 25 jahre 2010 Yellow cab, monthly programme in culture KulturKontakt Austria, Autumn 2014 / cover page and arts in Belgrade and Novi Sad (2010) artwork 2009 Annual catalogue of the Salon of Museum of 2014 MUSTRA @ SUPERVIZUELNA, editor Contemporary Art Belgrade (2010) 2014 Video-interview on the book Artist as 2009 RASTER 2008, yearbook of the independent Audience for Artyčok, in English performing arts scene in Serbia, publication of TKH forum for performing arts critique http://artycok.tv/lang/cs-cz/25406/artist-audience 2008 “Recollections on the Singingchairs”, my 2014 MONITOR @ SUPERVIZUELNA, http:// text published on www.luciababina.net/projects. www.supervizuelna.com/monitor-boba-mirjana- html#info4 stojadinovic-zvucna-izlozba/ 2007 FUCKING GOOD ART, “Een warm bad”, text 2014 MAPA @ SUPERVIZULENA, http://www. by Patricia Pulles – www.fuckinggoodart.nl/fga17. supervizuelna.com/mapa-boba-mirjana-stojadinovic/ html 2014 RAZGOVORI @ SUPERVIZUELNA / Boba since 2007 Database on Serbian contemporary Mirjana Stojadinović / Umetnik kao publika, http:// artist collected by Indipendent Artist Association www.supervizuelna.com/razgovori-boba-mirjana- Remont – www.serbiancontemporaryart.info stojadinovic-umetnik-kao-publika/ 2005 Illywords, conscious project, No 13, special 2013 “Kunstpreise des Landes Steiermark 2013″, edition for the 51. Venice Biennale / artwork Kultur Service Steiermark 2005 „Ready to Exhibit“, DVD-ROM, Remont 2012 “Vreme u gradu”, Interview with Una Production Popović, in Serbian, http://www.seecult.org/vest/ vreme-u-gradu 2004 Interviewed artist Maja Rakočević, Remont magazin No. 11 – www.remont.net 2012 “7 QUESTIONS / ON THE ROAD. Jack Fisher intervista Zara Audiello”, Kritikaonline, http:// 2003 Interviewed artist Ivan Ilić, Remont magazin www.kritikaonline.net/?p=5924 No. 7 2012 “Interview about the Association of 2001 In collaboration with Biljana Tomić edited Independent Cultural Scene of Serbia, by Adrijana four issues of a fanzine for young art culture ”Artzin” Milosavljević in English (poorly translated) http:// by March 2001, published by SKC, Belgrade www.wavemagazine.net/arhiva/70/culture/interview- mirjana-boba-stojadinovic.htm” 2012 “Belgrade’s Art Scene, Waiting for Its Moment”, by Ginanne Brownell, New York Times, on-line @ http://www.nytimes.com/2012/06/30/ arts/30iht-scbelgrade30.html 2012 “Jalovik Art Collony 1978-2011″, Diša Antić Library, Vladimirci 2012 “Memory of the City”, Kulturklammer, centar za kulturne interakcije, Beograd, www.kulturklammer. org/docs/SECANJE_GRADA–MEMORY_OF_THE_ CITY.pdf 2012 “A Book of Professions” by Oda Projesi, http://bookofprofessions.blogspot.com/ 2011 “Briefe aus Belgrad”, edited by Annemarie Turk Published by Edition Atelier, Wien, 2011 2011 “After 10 Years, Video in Serbia Again”, a MFA Mirjana Boba Stojadinovic +381.63.346462 [email protected] bobaart.wordpress.com 2017