Milica Tomić

Milica Tomić is a contemporary Yugoslav-born artist (1960, Belgrade). Her artistic practice traverses boundaries between photography, video, installation art and discursive, educational art, performance, and socio-political engagement. Her work encompasses collaborative and cross-disciplinary work.[1]

Career

She lives in Belgrade, Berlin, and Graz. Graduated in 1994 with Master's Degree in Painting at the Faculty of Fine Arts at the University of Arts in Belgrade. In 2004 she was an artist in residence at International program Artist-in-residence, Artpace, San Antonio, United States.[2] Since 2006, she had an Artist in Residency grant, International DAAD Artist-in-Berlin Programme, and in 2011 she had an artist fellowship at Residencies for International Scholars at Stanford University centers and institutes - Stanford Humanities Center / Freeman Spogli Institute for International Studies / Stanford Institute for Creativity and the Arts (SiCa) / Practitioner in Residence.

Since 2014, she is a Head of Contemporary Art Institute (Faculty of Architecture) at the Graz University of Technology.[3] In 2014/15 she was a professor at the Trondheim Academy of Fine Art/NTNU in Norway.[4]

Art work

Milica Tomic’s work centers on researching, unearthing and bringing to public debate issues related to political and economic violence, trauma and social amnesia, with particular attention to the short circuit between intimacy and politics. As a response to the commitment to social change and the new forms of collectivity it engenders, Tomić has made a marked shift from individual to collective artistic practice.[5] Today, she is a founding member of the new Yugoslav art/theory group, Grupa Spomenik/Monument Group (2002), founder of the cross-disciplinary project Four Faces of Omarska (2010 and initiator of the Working group Four Faces of Omarska.

Exhibitions

Individual exhibitions (selection)

Group exhibitions (selection)

  • 2016 Beyond Balagan, Hero Mother, Contemporary Art by Post-Communist Women Rethinking Heroism, MOMENTUM, Berlin; Monuments Should Not be Trusted, Nottingham Contemporary, UK; RED AFRICA / Things Fall Appart, Calvert 22, London, UK
  • 2015 Now, at the latest, Kunsthalle Krems, Krems; The School of Kyiv. Kyiv Biennial 2015, Kiev; 5th Thessaloniki Biennale of Contemporary Art, State Museum of Contemporary Art, Thessaloniki
  • 2014 Travelling Communique, Museum of Yugoslav History, Belgrade, Serbia
  • 2013 After Year Zero - Geographies Of Collaboration Since 1945, House of World Cultures, Berlin; Expanded Cinema, Mockumentary: Reality is Not Enough, Moscow Museum of Modern Art/MOMA, Moscow, Russia
  • 2010 Spa Port Biennial / Exposures, Cajavec Building, Banja Luka, BA; Transitland, Moscow Museum of Modern Art [MMOMA], Moscow, Russia
  • 2009 GENDER CHECK - Femininity and Masculinity in Eastern European, MUMOK, Museum of Modern Art, Vienna, Austria
  • 2008 Who Killed the Painting?, New Museum, Nurnberg, Germany
  • 2007 Global Feminisms, Brooklyn Museum of Art, Brooklyn, New York, USA
  • 2006 Paranoia, Freud Museum, London / Leeds City Art Gallery, Leeds, UK
  • 2005 RE-ACT, Kunsthallen Nikolaj / Copenhagen Contemporary Art Center, Copenhagen, Denmark
  • 2001 Video-Zone: The 1st International Video-Art Biennial, Tel Aviv, Israel; Milano Europa 2000, Palazzo Della Triennale, Milano, Italy; ARS 01, Unfolding Perspectives, KIASMA - Museum of Contemporary Art, Helsinki, Finland
  • 2000 SHOOT/moving pictures by artists, Malmö Konsthall, Malmö, Sweden
  • 1998 24th Biennial Sao Paulo, Roteiros, Sao Paulo, Brazil; OSTranenie - International Forum for Electronic Media, Bauhaus Dessau, Germany
  • 1997 Zones of Disturbance, Steirischer Herbst 97, Graz, Austria
gollark: (Cascade Lake-AP)
gollark: PlayStation? More like... don'tplaystation? I don't know.
gollark: Also consoles bad.
gollark: Maybe.
gollark: *Struck* with awe.

References

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