Igor Bošnjak analyses socio-political realities in the Balkans – relations between historical facts and their distorted preservation in technology, personal memory, and collective belief. He works in film, video installation and photography.
Igor Bošnjak (b. 1981 in Sarajevo/BA), graduated from the Academy of Fine Arts, Department of Painting, Trebinje/BA (2005) and completed his interdisciplinary master’s studies at the Department of Theory of Art and Media at the University of Art in Belgrade/RS (2008). Bošnjak works within the field of inter-media arts with film, video, installation and photography. His research-based practice is driven by the analysis of sociopolitical realities in Bosnia and Herzegovina and the Balkans. He focuses on the relations between historical facts and their distorted preservation in technology, personal memory and collective belief. Making historical references, Bošnjak provokes discussion about the shifts within media as well as existing sociocultural oscillations. He works currently as a professor and lecturer at the Academy of Fine Arts in Trebinje/BA and at the Faculty of Fine Arts in Cetinje/ME. Bošnjak lives and works in Trebinje/BA.
Bošnjak’s works have been exhibited among others at: Glassyard Gallery, Budapest/HU (2019); KIBLA, Maribor/SI (2019); Residency Unlimited, NYC/US (2019); Salone degli Incanti, Trieste/IT (2018); Tromsø Kunstforening, Tromso/NO (2017); Whitechapel Gallery, London/UK (2016); Kunsthalle Wien/AT (2015); New Cinema & Contemporary Art, Rencontres Internationales, Gaîté Lyrique and Palais de Tokyo, Paris/FR (2014); Agnes B. Foundation, Galerie du Jour, Paris/FR (2014); Kunsthal Charlottenborg, Copenhagen/DK (2012); National Center for Contemporary Art and Moscow Museum of Modern Art, Moscow/RU (2012).
The following artwork will be shown as part of the EVROVIZION.CROSSING STORIES AND SPACES project:
Perverted Gaze, video installation, colour, sound, 14'50'', Bosnia and Herzegovina, 2020.
Recording, editing and sound: Igor Bošnjak, © Igor Bošnjak
Igor Bošnjak’s video Perverted Gaze shows six border crossings in Bosnia and Herzegovina that were filmed using a drone. This aerial footage has been taken from various standpoints, communicating both an up-close look and a more distant perspective. The result generates insights into the activities at each location, offering a view of Bosnia’s apparently untouched mountain landscape. Yet it is not Bošnjak’s intention to create an aesthetic; instead, he is both visualising and simulating the process of surveilling, controlling and observing through his artistic practice. Bošnjak uses the border crossings that arose as a result of the Yugoslavian war, and the state monitoring that resulted, as the occasion for carrying out forbidden monitoring. He avails himself of drone technology to take on the role of monitor and observe locations of government power. Bošnjak uses this research-oriented approach to analyse sociopolitical reality in Bosnia and Herzegovina.
This artwork is part of the ifa art collection.
Kunstpreis der Böttcherstraße in Bremen 2020
The Kunsthalle Bremen presents ten promising positions in contemporary art. Renowned curators such as Johan Holten, Bonaventure Soh Bejeng Ndikung and Bettina Steinbrügge have nominated ten artists from German-speaking countries, whose works can be seen in an exhibition at the Kunsthalle Bremen from August 29 to November 1, 2020. The nominees included also artists from the EVROVIZON project: Janine Jambere, Henrika Naumann and Nevin Aladag
Selma Selman - Risk Change
*In 2018, I was part of the third international interdisciplinary art exhibition Personal, as part of the project Risk Change for which I received the White Aphroid Award for my works Dangers of the Body, The Body in Danger, Viva la Vida We Who Are Dreaming of. As part of the Risk Change project, my work was a part of My Art Is My Reality exhibition at the Museum of Modern and Contemporary Art, Rijeka (CR), curated by Sanja Kojić Mladenov. The Risk Change project gives a chance for those artists who genuinely GIVE so much attempt for change of society while using art, technology, and mobility. Therefore, it allows us to think outside of the box and make sure that we can have a better future if you all respect those categorized as others. *Selma Selman
Emilija Škarnulytė at Kunsthaus Pasquart
EMILIJA ŠKARNULYTĖ – Sunken Cities at Kunsthaus Pasquart, 3 July – 29 August With Sunken Cities (2021), Emilija Škarnulytė creates an immersive film environment in the Galeries, in which the different rooms function as a time-line. She produces the effect of total immersion in a multi-dimensional landscape in which our gaze is duplicated by the mirrored ceiling and we simultaneously become witnesses of a future, contemporary and past world. The artist opens the perspective with this black, reflective surface, allowing us to experience it as a visual horizon that looks like an ocean of liquid oil.
Nevin Aladag, Kunstforum, Bd. 262
Kunstforum, Bd. 262 Borderlines **Nevin Aladağ** Mustergültiges für unsere Zeit Ein Gespräch von Sabine Maria Schmidt Nevin Aladağ gehört aktuell zu den international gefragten Künstlerpositionen aus Deutschland. 1972 geboren im türkischen Van, ein Jahr später umgesiedelt nach Stuttgart, ausgebildet in München, ansässig in Berlin, steht sie für eine Position, die fern politischer Identitätsdebatten freie künstlerische Ausdrucksmöglichkeiten findet. In zahlreichen Werkserien untersucht sie die Kraft und den Erfindungsreichtum von kulturellen Transfers. Ihre Arbeiten handeln von Selbstbestimmung, Rollentausch, Fremdwahrnehmung und Multiperspektivität. Klischees und vorgeformtes Wissen werden grundlegend hinterfragt. Und sie nutzt die Poesie von Stimmen und Klängen, die sie unterschiedlichsten Körpern und selbstgebauten Instrumenten entlockt.