is an artist interested in artists’ motivation and ways of resisting (self)institutionalized structures.
present and upcoming:
The Art of Lecture
In Search of Sharawadgi
School of Waters
From 2017-2019, Adrijana has been an associate researcher at a.pass (collective environment for artistic research in Brussels), where she conducted activities to push the borders between research, mediation, and production as well as examine new formats of publicness. She named these activities Otherwise Exhibiting (pdf), as an attempt to shift the focus from the object to relations. In 2019, she continued this research in the joint project Archiving Artistic Anxieties, with the Royal Academy of Antwerp, which resulted in an online publication www.ArchivingArtisticAnxieties.me.
Since 2012, she has been mostly based in Belgium, making a living as free-lance technical support for the production of museum exhibitions. This early experience inspired her works The Great Wall, The stones that were almost exhibited in a museum, … and later, it pushed her practice towards artistic research and motivated the desire for different artistic involvement with the institution, outside of the exhibition framework, for which she created and explored the concept of Otherwise Exhibiting.
One of the proposals for Otherwise Exhibiting is a card-reading publication 7 anxieties and the world that she performed during 2019, among some at FairShare: self-publishing as an artistic practice (CIAP Hasselt), during the victories over the suns in Brussels and for The Hub – Between the iliac crest and the pubic bone (GMK Zagreb).
For her MA theses (2014), she has developed a concept of Who is Adrian Lister? which continues to be an ongoing project, through a series of performances and artistic publications with contributions by other artists and researchers.
In Montenegro, she is often working for the artists association Institute of Contemporary Art (since 2015) and making works with her family. Her solo exhibition Razstava (2017) was produced by her mother and a cake company for the Contemporary Art Centre of Montenegro, as an attempt to discuss the conditions of institutional support for contemporary art in Montenegro. Her sister and linguist, Kristina Gvozdenović, was one of the co-writers of ArchivingArtisticAnxieties.me. They also wrote together a report We are following your great example, for the exhibition Drugarice – women’s movement in Montenegro 1943 – 1953 (National Museum of Montenegro, 2017), which was later published in Strange Attractors (ed Nomaduma R. Masilela, X Berlin Biennale).