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Igor Bosnjak

Born in 1981 in Sarajevo, Yugoslavia
Lives in Trebinje

Contemporary Cemeteries. 2010. Video, video projection. Courtesy of the artist

This video shows a contemporary cemetery in Bosnia and Herzegovina, where some of the tombs emit video noises. These video signals are nicely framed in an architecture of tombs and seem to be previously planned tombs’ long-awaited video activity. Such tombs’ video activity overwhelmingly evokes the issues of Boris Groys’ essay Religion in the Age of Digital Reproduction, in which he examines an obvious “religious renaissance” within visual medias and its implications for the revision of the distribution of religious discourse. Tombs are amongst the most beloved objects in the media space of Bosnia and Herzegovina. Their types, sizes, numbers, times and spaces, are, “from some reasons”, in constant media actualization. Religious objects, in this case, tombs, by randomly giving signs of media life, evoke a sort of “natural” relationship between contemporary religious discourse and its need to be mediated by the most direct methods, appropriating media’s visual language in the most absurd formats.

Igor Bosnjak

July 2, 2014

On June 24 and 25, 4th Moscow International Biennale for Young Art began. 3069 applications by artists under 35 from 84 countries of the world were submitted for the competition, which lasted from November 2013 through March 2014. David Elliott, Artistic Director of the Biennale, proposed the motto A Time for Dreams as the general theme, and curated the main Biennale project, which presented works by 83 artists from 32 countries of the world.

June 17, 2014

The educational program of the Biennale, curated by Antonio Geusa and coordinated by Ekaterina Razdumina, is entitled Wise Advice, and aims at helping young artists to find answers to various questions that concern their creative growth and career development.