From December 4, 2014 to February 7, 2015
Opening on December 6 at 7 pm
Curator : Boshko Bosković
Ana Bilankov; Gorana Bosnić, Sandra Dukić & Gordana Macanović; Mladen Miljanović; Nita Deda & Yll Citaku; Renata Poljak and Kamer Şimşek
The Balkans are an intellectual construct, loaded with multivalent ideological meanings; since the Byzantium its ‘in-between’ position has confused the West, whose perspective of the region is often singular, external and static. The dismemberment of Yugoslavia in the 1990’s introduced a new object of fascination with the Balkans: ethnic conflict and nationalism. Following this, a number of international exhibitions perpetuated certain stereotypes of the wild east. Much of what is attributed to this region emerges from a popular Western imagination that ignores the speciﬁcities of local histories and cultures, reducing descriptions to the language of blood and honey. In her seminal book, Imaginary Balkans, Maria Todorova states the following: “The problem of identifying with the region of the Balkans is a sub variety of a wider identity problem of peripheral nations.”(1)
Future Perfect is a selection of short films and videos featuring storytelling that consciously/unconsciously mimics the archetype of longing, which is not – grammatically speaking – expressed only in the past tense, but also permeates concurrently into the future. Geography predetermines, frames and inspires the subject matter for each artist, creating a narrative where the past is folded inside the texture of each moving image. The six works reinforce the way our minds experience time: often in two places at once – in the here and now, but also in the back then. Each piece contains a dose of melancholy evocation, particularly of that which ceases or no longer exists, transforming the artworks into observers of realities that are constantly changing.
— Boshko Bosković
(1) Maria Todorova, Imagining the Balkans, London: Oxford University Press, 2009, p. 9.
Ana Bilankov (born in Zagreb, Croatia, 1968) studied Art History and German Language and Literature at the universities of Zagreb and of Mainz (Germany) and holds a Master’s degree from the Berlin University of the Arts. Her work have been shown in many solo and group exhibitions as well as events such as the Moscow Biennale (2005), the Kassel Documentary Film and Video Festival (2012) and CologneOFF IX (2013).
Boshko Bosković (born in Belgrad, Serbia, 1976) is the Program Director of Residency Unlimited, in New York. His curatorial practice contributes to promoting unexpected multicultural relations and realities. He has curated numerous exhibitions such as Monument-Movement at Muse, Center for Photography and the Moving Image (New York), Not So Distant Memory at the Delaware Center for the Contemporary Arts and at the National Center for Contemporary Art (St. Petersburg, Russia), Power of the Brand at the Contemporary Art Museum (Banja Luka, Bosnia & Herzegovina). In 2012, he curated in collaboration with the collective La Fabrique d’expositions the video program Videozones (2012) in the context of Montreal/Brooklyn, which was presented at the Galerie de l’UQÀM and at Interstate Projects (New York). He published essays for many of the aforementioned exhibitions.
Gorana Bosnić (born in Banja Luka, Bosnia and Herzegovina, 1976) studied at the Academy of Arts of the University of Banja Luka and has participated in numerous exhibitions in Bosnia including at the Bansksi Dvor Gallery (Banja Luka), at The Museum of Contemporary Art (Banja Luka) and the Mestna Galerija (Trebinje), amongst others.
Sandra Dukić (born in Rijeka, Croatia, 1980) graduated from the Academy of Arts of the Banja Luka University. Her work was shown internationally in venues such as the Center for Book Arts (New York), the National Centre for Contemporary Arts (St. Petersburg, Russia), the museums of contemporary art of Banja Luka and of Vojvodina (Serbia). In 2011, she received the prestigious ZVONO award.
Yll Citaku (born in Pristina, Kosovo, 1979) graduated as a film director from the Academy of Arts at the University of Pristina. His films were presented in numerous festivals including DokuFest, International Documentary and Short Film Festival (Kosovo), the Tabor Film Festival (Croatia) and the Thessanoliki International Film Festival (Greece). His film Should I Stay or Should I Go (2001) won Best Film at the first edition of DokuFest.
Nita Deda (born in Prishtina, Kosovo, 1987) studied Media and Communication at the Empire State College in Prague from the State University of New York. She is currently the Director of Communication at Dokufest, International Documentary and Short Film Festival. Among other projects, she has worked as the video editor of Kosovo 2.0 website and as the Communication Coordinator of the first Pavilion of the Republic of Kosovo at the 55th Venice Biennale.
Gordana Macanović (born in Banja Luka, Bosnia and Herzegovina, 1979) studied English language and literature and teaches English in a high school.
Mladen Miljanović (born in Zenica, Bosnia-Herzegovina, 1981) attended the Reserve Officer School where he earned the rank of sergeant. After termination of his military term, he completed a Master’s degree in Painting at the Academy of Arts of the University of Banja Luka. His work is shown worldwide and he represented Bosnia-Herzegovina at the 55th Venice Biennale. He was awarded the ZVONO prize in 2007.
Renata Poljak (born in Split, Croatia, 1974) graduated from the School of Fine Arts in Split and completed postgraduate studies at the École régionale des beaux-arts in Nantes. Her work has been exhibited widely, in solo and group shows, biennials and film festivals and is on view at Optica (until December 20, 2014) and at Occurence (until January 14, 2015). She is the recipient of numerous awards.
Kamer Şimşek (born in Prizren, Kosovo, 1983) studied radio and television at Trakya University, Turkey where he made short films. He has worked in making series, advertisements, documentaries, and short movies. After completing his studies he returned to Kosovo where he cofounded the Lucida Visual Arts Society.
Dazibao receives financial support from the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal, the ministère de la Culture et des Communications and the Ville de Montréal.