The Perfect White Cisgender Woman

VIDEO, 2022, 6:00


The Perfect White Cisgender Woman is a satirical video in black and white, sketch style, 6 min, about a middle-class woman performing everyday rituals. The film examines human behaviour in a pseudo-scientific way. It depicts a woman in a detached manner, functioning in a room, as though she is a subject of observation. The tone of world-weary detachment is created through a voice-over providing comments on her mundane actions.

Camera: Mina Petrović


FILM ESSAY, 2021, 09:45


Zahida witnessed II WW and the Yugoslav war in the ’90s. The short film essay depicts her situation in a neglected region in contemporary Bosnia and Herzegovina. The film relates directly to capitalism and the question of labour and capital structures of society. It shows how the political oligarchy devastated the country of its possessions.




This installation works in favour of private revolutions that are mostly invisible. Short texts are engraved in the book as transparent letters with the debossing design. Statements offer a whimsical, sarcastic, and critical stance toward world events we have endured during the lockdown. It shares one’s view of the world’s issues from the couch in our comfort zone. The first ten texts are statements about the political situation in Palestine that we have witnessed this spring in 2021 and are expressed by a white, privileged person. The project continues via a QR code that leads the individual to an Instagram profile, where everyone can share their thoughts on any problematic social issue. These are published publicly and anonymously.

UNDER 2021

5 CHANNEL VIDEO, 1:00, 2021
Photo credit: Andrej Uduč

Under 2021 is a 5-channel video installation on the canvas screen. It is made as a static image in tableau vivant form. Visual elements are white, and they show barely noticeable slow-motion movements. With this artwork, I aim to deliver something intangible – corridors of our psyche. Therefore, I portrayed how cognitive behaviour and its dysfunctions are challenging to preserve. The topic deals with the current situation and tackles the undergoing and neglected issues of mental illnesses evoked by the momentary conditions and how individuals deal with the pressure of isolation.

Funded by ÖH Akademie der Bildenden Künste Wien


PERFORMANCE, 20:00, 2020

Producer: MSUV- Museum of Contemporary Art Vojvodina, Serbia.
Performer: Nenad Ignjatević
Photographer: Marko Ercegović
Video Documentation: Alpha Media Plus
Curated by: Sanja Kojić Mladenov, Tijana Filipov Mezei

The artist with this performative piece is implementing the narrative of domestic violence treated in the Balkans. When paraphrasing national Serbian law and the definition of domestic violence, the performer intervenes with personal anecdotes. It illustrates the emotional impact and fills the void of the rigid bureaucratic system of the state apparatus.



VIDEO 03:40, 2019
Camera and edit: Maximilian Klamm

Hommage to Jadranka Cigelj, Nusreta Sivac and the rest of the women survivors of the concentration camp in Omarska, BiH.

The video asks questions about the experience of trauma and takes us into a complex field of transgenerational collective trauma caused by war violence in Bosnia and Hercegovina.  Apartment 102 does not stop at re-experiencing trauma. In the moment when questions culminate into Do you wish you didn’t survive?, the black-and-white film changes into a coloured one, the sound of a whirr appears, and the artist answers the question from the beginning of the film: To stay silent or to speak? The author adopts a strong standpoint that violence is unacceptable, she empowers victims and directs her attention to the perpetrators of violence. The video thus acquires the look of a historical document helping us to see the pores through which traumatic experiences are inscribed into collective history. Meanwhile, it connects us with the implications of the past, which have become ingrained in the spirit of the age, and faces us with the ahistorical moment that opens the timeless question about the ontology of evil. ( Ana Grobler, Eva Jus, Tamara Klavžar)



VIDEO, 05:46, 2018

Burek is one of the most popular fast-food dishes in Europe. The reason for its popularity is its financial affordability on the one hand and the growing number of places that sell it on the other hand. Despite being so popular as a dish, the word burek holds negative connotations. The phenomenon of Burek is multilayered. Nationalistic discourse is one of the foremost perpetrators of the emergence and further development of negative meanings of Burek. Western feelings of superiority, in contrast to southerners, are not abstract but go through concrete articulations. For example, some “southern” food must be labelled as highly insignificant, albeit Burek is a complex food – a sign of sophistication.


PERFORMANCE, 20:00, 2017

Capitalism instilled in us is the absence of solidarity, conformism, and apathy. We are brought up with the idea that modifying the system is unnecessary. Things that change are the faces of politicians on TV, the names of the major streets and squares, the flags, national anthems, and monuments. People’s personalities, shaped by specific regimes they lived under, are slower to change. To be yourself, to perceive yourself as an individual in a mass society, is dangerous. You might become living proof that the system is failing. War is a legacy of any repression of feeling. Every war begins as an external event but already lives inside of us. 


VIDEO, VOICEOVER, 2017, 07:55
Camera: Vitya Gluschenko
Produced by KulturKontakt and Austrian Chancellery, AT.

The video performance acts as a monologue confession of a woman in her early thirties and the obstacles she is dealing with. Content deals with gender, identity, migration, and ethnicity. Autobiographical thoughts are exposed to the audience through the audio recording only, while the performer in the video is only partially visible. It gives a notion of a classical portrayal, with the mind being the primary source of happening. The artist is addressing the audience with the world’s issues – which are still current – while trying to escape her inner conflict. She is asking herself if she, as an individual, has done enough for society and if that is even possible given her confusion. Performance is not only personal; it is sharing common threads of the everyday world and appeals to the public to identify with the performer and vice versa.


Sewed and print by Andrej Uduč and Matej Uduč

The red thread of the project is the question of feminism in the Balkans or how it is shaped through the occidental dominant white feminism. The issue I deal with is if we can talk about emancipatory women’s practices in the Balkans without the implications of the western category of ideological and cultural practices. If I simplify, I give voice to women who are historically completely neglected from this point of view and presented through a single prism, the prism of the patriarchy. Since the importance of their lives is pushed to the margins of anonymity and without value, I decided to do the opposite. The fact that the Balkans is described by the West and its intellectuals as patriarchal, traditional, rural, backward, mystical and scary is just one side of the story that has completely taken hold of our perception.


Digital Photography
Assistance: Daniel Fischer, Eva Dreisiebner, Alja Ferjan

Bodies in this artwork are covered with a garment and exposed only partially – what is supposedly forbidden to see. The issue of women’s rights emerged as the centrepiece of the Western narrative of Islam in the later nineteenth century, as Europeans established themselves as colonial powers in Muslim countries. Thus, the image of the Muslim woman needing to be saved from a Muslim population that needed to be civilised is inextricable from the context of Western European imperialism beginning in the late nineteenth century. This period marked the practice of veiling as a symbol of the oppression of women under Islam and an impediment to ‘moving forward on the path of civilisation’. What tends not to be questioned is patriarchal dominance itself or the simple chauvinism of decreeing that women either should or should not be allowed to wear a garment.



VIDEO, 01:57, 2016
Camera: Max Chrambach

Art students were asked questions while their body language was observed. The main purpose of the idea was to film an experimental interview about the object called a veil. They had to wear it in order to explain how it felt. My personal aim for this art project was to deconstruct the semantics of the veil itself and give it a new meaning. I have chosen art students because they are a specific social group, which is well known for “looking outside of the box”. It turned out that no matter how much time we dedicate to these topics, we still show tendencies to be oblivious toward “the other”.



VIDEO Performance, 04:53, 2015

Camera: Andrej Uduč

The artist in the video performance stands in a blank space in front of the wall, to which, across the projection, the text in English is written: “I am a Muslim I am a Muslim I am a Muslim …”. The statement is repeated until it fills the entire wall. The artist stands still, has a loosely wrapped scarf around her head, and smokes a cigarette. After a while, she takes her scarf off her head and starts to say “I am a Muslim” out loud. She repeats the statement with various affirmative intonations. When the text is fully written, the artist leaves the scene. With the gesture of the projected text on her body, the artist publicly proclaims her origin, which can also be accepted as an identity in the local environment as a negative mark. By making confident statements, she accepts this identity, affirms it, “crosses the border,” thereby achieving empowerment.” (Vesna Bukovec, DIVA – SCCA, 2019)


Assistance: V.A.T.

The purpose of the video installation is to show the ritual of clitoral circumcision. There is a typical anthropocentric attitude toward foreign sociocultural manifestations in our society. When in the Southern hemisphere, we speak of a primitive process of female genital mutilation. The “developed” West talks about the medicalization of sexuality – medical intervention in the form of new technologies. Sexuality is a construct of beauty ideals, dictating the aesthetics of cosmetic surgery. On both sides, there is a presence of male domination, to which female members are subordinated. Superior countries, which are considered the peak of civilization, are drawing ideas from the primitive world. But unlike them, they do so with technologically advanced equipment. Technological progress, however, does not also mean the mental development of mankind.