Aleksandra Domanovic
27 - 30 Apr 2013
'Untitled (mash-up)', 2012
Stack of A4 paper (9,000 pages), inkjet print
90 (H) x 21 x 29.7 cm (approx.)
Unique
(DOMANOVIC-2012-0034)
Stack of A4 paper (9,000 pages), inkjet print
90 (H) x 21 x 29.7 cm (approx.)
Unique
(DOMANOVIC-2012-0034)
ALEKSANDRA DOMANOVIĆ
27 April - 30 June 2013
Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Her works create strange taxonomies and manic associative chains that poke and prod at copyright laws, unpack the geopolitical implications of web domains, or explore, for instance, the model of exhibitions (the co-creation of the collaborative exhibition platform vvork.com).
Most recently, Domanović has turned her attention to the complex ways in which image culture and information flows have formed the postwar environment of former Yugoslavia. Whether investigating the phenomenon of what she dubs ‘Turbo Sculpture’ — monumental statues of American celebrities and movie characters like Bruce Lee, Johnny Depp, and Rocky Balboa, that have been erected across the former Yugoslavia — or constructing modest steles out of printer paper emblazoned with digital distortions of images from pre- and postwar life, or making semi-autobiographical forays into a rave scene that united the youth of the balkanized Yugoslavian territory, Domanović addresses the ways in which we attempt to heal the wounds of history though conviviality and denial.
27 April - 30 June 2013
Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Her works create strange taxonomies and manic associative chains that poke and prod at copyright laws, unpack the geopolitical implications of web domains, or explore, for instance, the model of exhibitions (the co-creation of the collaborative exhibition platform vvork.com).
Most recently, Domanović has turned her attention to the complex ways in which image culture and information flows have formed the postwar environment of former Yugoslavia. Whether investigating the phenomenon of what she dubs ‘Turbo Sculpture’ — monumental statues of American celebrities and movie characters like Bruce Lee, Johnny Depp, and Rocky Balboa, that have been erected across the former Yugoslavia — or constructing modest steles out of printer paper emblazoned with digital distortions of images from pre- and postwar life, or making semi-autobiographical forays into a rave scene that united the youth of the balkanized Yugoslavian territory, Domanović addresses the ways in which we attempt to heal the wounds of history though conviviality and denial.