Mission Accomplished: BELANCIEGE (2019)
lecture-performance and installation

Mission Accomplished: BELANCIEGE, is a lecture performance written and co-produced together with Giorgi Gago Gagoshidze and Hito Steyerl.

In this lecture we turn to fashion using the example of luxury brand Balenciaga as a way to reflect political and cultural changes 30 years since the fall of the Berlin wall. The lecture is presented as a 3 channel video in a specially conceived large scale installation.

Sound direction and music by Mikk Madisson. Made possible with support from Nbk, HSKF, MF.

RA-TA-TA (2017)
video, videostill

RA-TA-TA deals with the articulation of war and violence.

In game-like environments the sound of machine guns, bomb drops and other forms of war-play are produced through language. The original sound effects are substituted with childlike synchronizations that articulate what is seen on the screen. In doing so, it naively emphasizes the mechanisms of war through an interplay of words rendering them evermore palpable.

Installation view: In The Clouds Is Where We Want To Be
Künstlerhaus Bethanien Berlin DE

XYZ (2016)
video, videostill

XYZ problematizes the present-day visualization of data and information which in essence is not perceptible to human beings. In this work the human voice gets singled out as the main interface that echoes in vain search for responsiveness. The video is structured as an online tutorial that gradually turns into self-talk. The work questions the viability of standard modes of communication in our information age.

Installation view: UdK Berlin DE

Installation view: Todays Art The Hague NL 2018


Nothing Really Matters is a lecture performance that addresses the defining role of mountains in the conception of borders. The lecture is modeled after a real journey partaken between two hometowns and looks at the strategic, geopolitical and often poetic dimension of mountains in the relationship between being and belonging.

It is presented live and in installation form.

Installation view: Spending Quality Time With My Quantified Self
TENT Rotterdam NL

limited edition artist flag

A series of limited edition artist flags, made on commision by Arte Concordia, Rotterdam NL

performative lecture

Retroceding the Politics of Representation is a lecture that focuses on the visual and symbolic representation of Yugoslavia. In the lecture I offer an interpretation of Slavko Pengov’s epochal 1947 mural in Villa Bled, Slovenia depicting ‘Mother Yugoslavia’ — a stoic and oddly masculine symbol of this, at the time, newly formed socialist country.

In this work I examine the different modalities of subjectivity that this figure embodies. I do this by assessing how Yugoslav ideology aspired to develop particular ideas of nationhood and belonging and how these were represented. In the lecture I speculate on the continuation of such mechanisms of subject formation first through cinema and the democratization of film and subsequently the rise of the Internet and the global mediation of images.

It is presented in live form.

Lecture images

MOTHER (2014)
video, videostill

Mother is a short video work developed in collaboration with Nora Turato. The work deals with the increasing automatization of language in the digital paradigm. Transmissions of language-based forms of communication are increasingly codified and cancelled from our material environment. They are no longer confined to the human body. This work responds to this paradigmatic shift by reflecting on the idea of mother tongues. It is structured as a verbal vomit addressing this disconnect between the production of language and the human body.

WWW (2014)
video, videostills

This video goes back the Winter Olympic Games held in 1984 in Sarajevo Yugoslavia (present day Bosnia and Herzegovina) and addresses the ramifications of war that followed shortly after. Many of the former Olympic venues have been used as military artilleries during the 1992-1995 Bosnian war. These were sights for the glorification of bodies through athletic accomplishments that were subsequently repurposed for the obliteration of bodies during war.

This work juxtaposes both these events and puts them in perspective with a simultaneous global proliferation of technologies of mediation and the rise of the World Wide Web. It interrogates concepts of materiality and immateriality with regard to war and technology thereby always drawing relations to the human body.