Bojan Šarčević
| Bojan Šarčević | |
|---|---|
| Born |
1974 Belgrade |
| Education | École des Beaux-Arts, Rijksakademie |
| Known for | Video art |
| Website |
www |
Bojan Šarčević (pronounced [bɔ̌jan ʃǎːrtʃɛv̞itɕ]; born 1974) is a visual artist. His work includes video, installations,[1] site-responsive architectural interventions,[2] photographic collage, more or less abstract sculpture, and printed publications.
Life
Born in Belgrade, Šarčević spent part of his childhood in Morocco and Algeria, but was living in Sarajevo at the outbreak of the Bosnian war. Šarčević studied at École des Beaux-Arts in Paris, graduating in 1997. He continued his studies at Rijksakademie in Amsterdam.
Exhibitions
Šarčević held his first solo exhibition "It seems that an animal is in the world as water in the water", at the gallery BQ in Cologne. Since then he has had numerous solo and group exhibitions, including:
- Manifesta 2, Luxembourg (1998)
- Centre Soleil d'Afrique, Bamako (2000)
- Musée d'Art moderne de la Ville de Paris, Paris (2001)
- Museum of Contemporary Art Kiasma, Helsinki (2001)
- Kunstverein Muenchen, Munich (2003)
- The 50th Venice Biennale, (2003)
- Tate Modern, London, (2004)[3]
- ArtPace Fondation, San Antonio (2005)
- Städtisches Museum Abteiberg, Mönchengladbach (2005)
- Project Arts Center, Dublin (2006)
- Kunstverein Heilbronn, Heilbronn (2006)
- BAWAG Foundation, Vienna (2007)
- Museo d´Arte Moderna, Bologna (2007)
- Kunstverein Hamburg, Hamburg (2008)
- Kunstmuseum Liechtenstein, Vaduz (2012)
References
- ↑ Filippo Romeo, Bojan Šarčević - Reviews, ArtForum, Summer 2002.
- ↑ Justin Hoffmann, Bojan Šarčević: Kunstverein Munchen - Munich, ArtForum, Nov 2003.
- ↑ "Timezones" exhibition, tate.org.uk Archived June 22, 2008, at the Wayback Machine.
Martin Herbert, "Unbounded Enthusiasms" Artforum, November 2010
Jeniffer Allen, "Social Patterns, Frieze, issue 117, 2008
Christy Lange, "Une Heureuse Régression", Frieze, issue 97, 2006
Kirsty Bell, Bojan Šarčević, Frieze, issue 85, 2004
Jörg Haiser, "Dogs in Space", Frieze, issue 55, 2000