In her paintings, Biljana Djurdjevic refers to the victims of contemporary culture. Her portrait-like sketches are often completed in light color. The structured patterns of wallpaper or flagging refer to public environments like hotel rooms, shower rooms, or locker rooms. Even though they are dressed, the pale skin of the painted figures dominates the composition. The figures appear like the nudes in Lucien Freud’s paintings. The pure flesh becomes the target for injuries and violence.
The figure’s gaze directed at the viewer expresses desperation and fear. Fear of the approaching viewer who himself becomes the offender in front of Biljana Djurdjevic’s figurative paintings. Fighting dogs as well as clubs and even the cross are symbols used to indicate violence and torture, which become metaphors for all wars and distress.
Biljana Djurdjevic controls the view of the observer by limiting the spatial representation of the crime scene to the size of the figures. The desperate victims can no longer be abandoned to their fate.
In perfect adhesion to the tradition of her country of origin, Biljana Djurdjevic relates the myths of our time using the language of the manifesto and of socialistic propaganda.
place & year of birth
'Living in Oblivion', Museet Moderna, Stockholm, Sweden
'Paradise Lost', galerie davide gallo, Berlin, Germany
'Paradise Lost', Critics choice, curator Branislava Andjelkovic, Cultural Center Belgrade, Serbia
'Paintings -Seven Deadly Sins', Salon of Museum of Contemporary Art in Belgrade.
Passion for Art - 35 Jahre Sammlung Essl,Essl Museum Kunst der Gegenwart
Moscow Biennal, curated by Iara Boubnova
Artefiera Bologna, Bologna, Italy
Homage to Louise Bourgeois, curated by Martin Kunz, Museo Comunale de Arte Moderna, Ascona, Switzerland
'Six From Europe', Sonoma Valley Museum, CA, USA
'Zones of Contact' Sydney Biennale, curator Charles Merewether, Sydney, Australia.
'Napoli presente, posizioni e prospettive dell'arte contemporanea', curator Lorand Hegyi, Palazzo delle Arti Napoli, Naples, Italy
Art Forum, February: The New Normal; Contemporary art in Belgrade; Tom Holert
Süddeutsche Zeitung, 14.11.2005: Normalität nirgendwo: Zusammenbruch und Aufbruch: Nach Jahren der kontrollierten Milosevic Kulturpolitik findet die Kunstszene Serbiens zu einer neuen Sprache; Tom Holert
Text by: Branislava Andjelkovic, Museum of Contemporary Art, Belgrade 2006
-->Sydney Biennale 2006 ; Zones of Contact;
text by Branislava Andelkovic, Sydney, Australia.