memory. culture. art.
Mladen Miljanović

Mladen Miljanović was born in 1981 in Zenica, Bosnia and Herzegovina. In 2006 he graduated from the Academy of Arts in Banja Luka, BiH. In 2006 he received the Award of the Museum of Contemporary Art RS in Banja Luka for the best works at the annual final exhibition of the Academy of Arts in Banja Luka; in 2007 he received the Zvono award for best young artist in Bosnia and Herzegovina. He works and lives in Banja Luka.

Selected solo exhibitions:
2009 Holiday of discomfort, Antje Wachs Gallery, Berlin; Sit-No, Duplex Gallery, Sarajevo (BiH);
2008 Occupational therapy, Museum of Contemporary Art of RS, KC Banski Dvor, UDAS gallery, Banja Luka (BiH);
I serve art, National Gallery of BiH, Sarajevo (BiH);
2007 Occupo, Neue Galerie Graz, Graz (Austria);
Relations, FABRIK culture, Hegenheim (France);
I serve art, ex military base Vrbas; Banja Luka (BiH)

Selected group exhibitions:
2008 Busan biennial, International exhibition of video art, Busan (South Korea);
Artist-Citizen, 49. October Salon 2008, Belgrade (Serbia);
Hotel MariaKapel, a portrait by Katie Jane Horn (NL);
Örebro, International Video Art, Festival (Sweden);
Boys and their toys, SC gallery, Zagreb (Croatia);
2007 Strategies of conforment in the age of biopolitics, Brakeground Gallery, Amsterdam (NL);
Retrospektrum, National Gallery of BiH, Sarajevo (BiH);
Corcoran, salon - Museum of Contemporary arts Belgrade (Serbia);
Dialogue exhibition, Hegenhaim-Basel (France)

Mladen Miljanović on his work:
I base my artwork upon my own life experience. On one hand, it is the experience of growing up both during and after war in a destroyed, impoverished, ethnically and territorially divided, and externally isolated country. On the other hand, it is my formal education (at one stage of education I attended the Reserve Officer School). The consequences of war and the knowledge gained in military school make the basic field of reference in my work as an artist. My work in situ arises from the reaction to the physical and functional past of the place to genius loci. Comparing the past of a place and its transformation into the diametrically different function today, I take on the role of the mediator in the process of the constructive deconstruction that is taking place between the two realities. Considering my entire engagement, strategy and work methods, it can be concluded that the art is not a goal but the means of confrontation with the negative past and a practical affirmation of the attitude ‘make art, not war’. I use art as the means of sublimation of the negative forms of the past and present social issues. It is the media of performance, installation, image, photograph through which the forms of the social trauma are being redefined.