image text special

'How am I to protect my wax-built' by Milica Mijajlović at EASTTOPICS SPACE, Budapest

article image; primary-color: #3F2B2A;
article image; primary-color: #804547;
article image; primary-color: #91776A;
article image; primary-color: #7B6154;
article image; primary-color: #562F34;
article image; primary-color: #685652;
article image; primary-color: #625046;
article image; primary-color: #5C5545;
article image; primary-color: #523434;
article image; primary-color: #957B6E;
article image; primary-color: #AD9082;
article image; primary-color: #7C5141;
article image; primary-color: #986351;
article image; primary-color: #542E2B;
article image; primary-color: #4A3031;
article image; primary-color: #2B1D1A;

Easttopics is proud to present Milica Mijajlović’s first solo exhibition in Hungary as a result of the young artist’s residency in Budapest. Featuring her most recent paintings on textile as well as objects and a video piece realized specifically for this show, the project explores the artist’s reminiscences about the Yugoslav war, more precisely about the bombing of Belgrade in 1999 that she experienced as a small child. The flashes of the explosions that she first innocently misinterpreted as fireworks constitute the central motif of her works, which conceptualize – both in their symbolic content and in their technical characteristics – the swirling confusion and antithetic emotions felt ever since by the artist in the apprehension of this traumatic period.

This disconcerting bitter sweet characteristic of her present practice further unfolds in objects combining used, dirty wheel trims and forms made of caramelized sugar that evoke sharp serrated blades or elaborated fire arms. The artist's new video work explores her equally ambivalent relation to Serbian turbo-folk music and its flashy, latex-dressed performers who became national stars during the nineties, the Milošević regime and the Yugoslav war. Therefore, not only does Milica Mijajlović deal with her individual war trauma, but also tackles a phenomena all of us can relate to; the embellishment of childhood experiences - should they be related to food, music, clothing, visual culture or more concretely perturbing events such as international conflicts - and the disillusive reflection, critical processing of these memories as a necessary operation to become adult. 

5.9.19 — 12.10.19

Photo by Atóth Dávid

EASTTOPICS SPACE

'Extra Medium' by Vladislav Markov at Spazio ORR, Brescia

'Her Own Devices' by Laurie Kang at Franz Kaka, Toronto

'THE MOUTH OF THE GIFTED HORSE' by Wisrah Villefort at Goswell Road, Paris

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

Next Page