Born in Pancevo, Serbia(1984). After completing the Study of History of Art in Belgrade in 2010, I began to work as a curator and librarian at the Museum of Contemporary Art in Banja Luka, where I met, in fact, for the first time how the institutional system of art functions. As museum hierarchy, procedures and protocols hinder the possibility of actively engaging young curators in curatorial tasks, my initial curatorial practice was focused on outside-museum networking and cooperation with the younger generation of Bosnian-Herzegovinian artist and art scene in Banja Luka in general. I can be grateful to the Museum, because it has provided me an opportunity to pass two very important (in the context of the Balkans) professional exams- curatorial and librarian, whereby I actually officially got the status of curator and librarian.
Given that the war in Bosnia and Herzegovina left a divided state, a complicated administration, and ethnic and religious divisions, all this reflected in the very art, which is in the meantime became degraded and relatively conservative. During the three-year period spent in Banja Luka, I wrote several reviews and essays that draw attention to the conditions of the art and the art scene in the city itself and Bosnia and Herzegovina in general. In addition, I organized dozens of exhibitions and participated in the realization of two regional art festivals aimed to connect and get to know the artists within the country, as well as with regional colleagues.
Soon after the expiration of the work contract at the Museum, I attended "World of Art" - School for curators and critics in Ljubljana, Slovenia and later I enrolled in Master study in Art History at the Institute of History of Art in Vienna. Regardless of the continuing education and specialization in the art history, curatorial practice and critical writing, the experience of working within the art institution helped me to define my curatorial practice as an activity that strives for different art practices outside of the dominant institutional discourse, and so far, it has been directly linked to the Balkan region. This implies several points: a) the absence of an exclusive and monotonous relationship between the artist and curator in the emergence of exhibitions or other communication media; b) the tendency to experiment within curatorial practice with various exhibition spaces, from offspaces, through art and nature to public, open spaces, etc.; c) the variety of themes and artistic media, which are not necessarily "contemporary", "cool" or "mainstream", but they are the most adequate reflection of artists creativity or concept; d) projects that are not necessarily high-budget and expensive.
Questioning what is an independent scene in the context of Bosnia and Herzegovina and the position of the curator within independent artistic production, that is to say, how crucial and necessary his presence is in the process of realization of the exhibitions or some other event, I continued to deal with, but now in the context of the Vienna art scene. In Vienna, we are actually meeting an important social-cultural element that is not relevant for the Balkans- immigrants or Ausländer element, where artists from Third world countries try actively to participate in the Austrian mainstream world of art and where by their rejection from it, a new layer emerges on the artistic scene. Even though they could be classified as marginal groups in the context of the mainstream production, their media and themes belongs to the "high" art. On the other hand, because their marginalization is not self-proclaimed, it does not fit into "classical" independent/underground artistic tendencies. Thus, the new context with its mechanisms of functioning of art has imposed (me) to redefine the notion of independent art, the art scene and the curatorial position.
In that context, as immigrant curator in Vienna, at the end of 2017, I began voluntarily to arrange an exhibition program in the off space-gallery “AU”- a free platform that supports various associations and independent collectives, and also strives for social-political engagement in terms of permeating and meeting national and international tendencies. Within this space, through various types of activities and the creation of the exhibitions itself, I started to get a clearer picture of the ways of functioning the Vienna independent scene.
In order to have a financial support in the organization of various events I founded an Association called KUNSTENTROPIE - Verein für zeitgenössische und nicht-akademische Kunst und Kulturveranstaltungen, at the beginning of 2018, which aims to promote exclusively non-academic art and cultural events.
Among the numerous realized projects, which include exhibitions, critiques, essays, lectures, workshops, etc., I would like to mention in particular the trilingual monograph-book of artist Davor Gromilović "Wrong Time, Wrong Place" from 2015 and a new radio broadcast project called "Third Line”. This future show is an experimental-curatorial project, that would be broadcast every two weeks and where we would talk with artists and curators who feel in emotional or political sense as Ausländer in Austria. The content of the show is not only the promotion of individual artistic / curatorial practice of an artist / curator, but also the parallel critical representation of the problems that artists / curators face when it comes to the political situation in Austria / European Union.
Current non-curatorial activities: Project management for Austrian and EU Funds