Lana Čmajčanin addresses geopolitical mapping, political contexts, and the female body. In her multi-media installations, objects and video works she also explores structural violence, the politics of memory, practices of nationalist politics, and the neoliberal management of trauma.
Lana Čmajčanin (b. 1983 in Sarajevo/BA) has an MA from the Academy of Fine Arts at the University of Sarajevo/BA (2007) and is currently a PhD scholar at the Academy of Fine Arts Vienna/AT. Čmajčanin is engaged in an art practice that has a strong reference to specific places, addresses issues of geopolitical mapping and political contexts, and distinctly includes the role of women and the female body. Čmajčanin investigates the impact of political and social power structures and control mechanisms, and she raises issues of responsibility and manipulation. She explores geopolitical and structural violence, the politics of memory, the practices of nationalist politics and the neoliberal management of trauma. Čmajčanin lives and works between Sarajevo/BA and Vienna/AT.
Čmajčanin’s artworks have been exhibited among others at: Museum of Modern Art, Ljubljana/SI (2019); 58th Venice Biennale, Venice/IT (2019); Museum of Modern and Contemporary Art, Rijeka/HR (2019); NGBK–Neue Gesellschaft für Bildende Kunst, Berlin/DE (2019); Autostrada Biennale, Prizren/XK (2019); Zhejiang Art Museum, Hangzhou/CN (2017); Guangdong Museum of Art, Guangzhou/CN (2017); Pera Museum, Istanbul/TR (2016); Kunstraum Niederösterreich, Vienna/AT (2016); Good Children Gallery, New Orleans/US (2016); Stedelijk Museum, Amsterdam/NL (2015); Garage Museum of Contemporary Art, Moscow/RU (2015); IV Moscow International Biennale for Young Art, Moscow/RU (2014); Galerie du Jour agnès b, Paris/FR (2014).
The following artwork will be shown as part of the EVROVIZION.CROSSING STORIES AND SPACES project:
BALKANGREUEL – BALKAN CRUELTY, installation, print on fabric wallpaper, dimensions variable, Vienna/AT, 2019.
© Lana Čmajčanin
Lana Čmajčanin’s wallpaper installation BALKANGREUEL – BALKAN CRUELTY combines the design of Viennese toile de jouy with motifs from the graphic portfolio Balkangreuel, which was published in 1909 by Austrian author and illustrator Gottfried Sieben in an act closely tied to the annexation of Bosnia by the Austro-Hungarian Empire. Scenes in which Balkan soldiers carry out acts of barbarism, including brutal attacks on women, can be seen. Sieben’s publication reinforced the stereotype of the ‘wild and barbaric’ Balkans, and all the prejudices associated with it. With its mixture of floral motifs featuring flowers endemic to the Balkans, luxurious ornamentation, and depictions of violence, Čmajčanin visualises the creation of prejudices. In doing so, she reveals the mechanisms behind the supposedly civilised selfrepresentation and resolute otherness of the people of the Balkans. The impact of political and social power structures, as well as aspects of control and manipulation, are rendered visible.
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.