Pretend it’s a City: a Letter to Fran Lebowitz


The Perfect White Cisgender Woman

Short film, 6:00, 2022
LINK TO VIDEO

The Perfect White Cisgender Woman is a satirical short film about a middle-class woman performing everyday rituals. It examines human behavior in a pseudo-scientific way. A woman is depicted in a detached manner, functioning in a room, as though she is a subject of observation. The voice-over provides comments on her mundane actions.

Camera: Mina Petrović


PRIVATE THOUGHTS IN PUBLIC CRISIS

ARTIST BOOK, VIDEO, QR, INSTAGRAM, 2021

LINK TO VIDEO

Short texts are engraved in the book as transparent letters with a debossing design. The first ten pages are statements about the political situation in Palestine that we witnessed in the spring of 2021 during COVID-19 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 shares their thoughts on any social issue.


CHIMNEY SWEEPING

PERFORMANCE, 20:00, 2020

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.


APARTMENT 102

LINK TO VIDEO

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 takes us into a complex field of transgenerational collective trauma caused by war violence in Bosnia and HerzegovinaThe author adopts a strong standpoint that violence is unacceptable, she empowers victims and directs her attention to the perpetrators of violence, and faces us with the ahistorical moment that opens the timeless question about the ontology of evil.


NENA

FILM ESSAY, 09:45, 2021

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


SILENT OBSERVER

VIDEO, VOICEOVER, 07:55, 2017
LINK TO VIDEO
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, while the performer in the video is only partially visible.


ZAHIDA IS A FEMINIST

PHOTOGRAPHY SERIES 10x, PHOTO-PRINT ON COTTON CANVAS, 70×50, 2016
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. I deal with whether we can talk about emancipatory women’s practices. The fact that the West and its intellectuals describe the Balkan as patriarchal, traditional, rural, backward, mystical, and scary is just one side of the story that has completely taken hold of our perception.


CROSSING BORDERS

LINK TO VIDEO

VIDEO Performance, 04:53, 2015
Appropriation of John Baldessari, I’m Making Art, 1971

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, and “crosses the border,” thereby achieving empowerment.” (Vesna Bukovec, DIVA – SCCA, 2019)