Bojan Stojčić rođen je 1988. godine. Bosanskohercegovački je vizualni umjetnik. Najrecentnije, dobitnik je Nagrade Galerije Nadežda Petrović na Bijenalu Sonja S. (2024.), Young Visual Artist Award - ZVONO (2023.) te WHW stipendije za umjetnike u usponu (2022.). Kroz svoje multimedijalne radove - često upotrebljavajući humor i poeziju - Stojčić markira i propituje pozicije dodijeljene Drugosti. Uzimajući teme geopolitike i (auto)kolonijalizma, njegovi radovi završavaju kao filmovi, fotografije i multimedijalne instalacije u javnim i galerijskim prostorima. Najrecentnije izložbe ostvario u nGbK, Berlin (2024.), The West, Hag (2024.), RU, New York (2024.).
Bojan Stojčić was born in 1988. He is a visual artist from Bosnia and Herzegovina. Most recently, he has won the Nadežda Petrović Gallery Award at the Sonja S. Biennial (2024), the Young Visual Artist Award – ZVONO (2023), and the WHW Fellowship for emerging artists (2022). Stojčić's multimedia works often employ humor and poetry to challenge and subvert the positions assigned to the Other. His artistic practice explores themes of geopolitics and (auto)colonialism, resulting in a body of work that includes films, photographs, and multimedia installations exhibited in public and gallery spaces. His most recent exhibitions were held at nGbK, Berlin (2024), The West, Hague (2024), and RU, New York (2024).
ig: bojan.stojcic
Bojan Stojčić
Seeking for a Person, 2015 - …
intervencija u javni prostor / public intervention
Hiperdimenzioniranim oglasom u javnom prostoru na jednostavan način pozicioniram sebe kao građanina, umjetnika ili čovjeka unutar jednog društva u kojem takve kategorije nailaze na nerazumijevanje i odbijanje. Kroz ovu reduciranu formu, oslobađam rad generalizirane kategorije umjetnosti koja javnosti često može biti zastrašujuća ili strana, istovremeno otvarajući ga komunikaciji sa bilo kim. Svi materijali koji nastaju nakon objavljivanja oglasa postaju dio dokumentacije – svaki razgovor, poziv, svaka poruka, reakcije na društvenim mrežama i u medijima, kao i izostanak reakcija. Teme koje se otvaraju ili izbjegavaju u pozivima i reakcijama na oglas svojevrsna su preslika nastojanja, ideologija, želja, strahova, predrasuda, trauma kao i jezičnih karakteristika koje prožimaju jedno društvo ili intimu osoba koje ga čine. Postavljajući rad u različitim kontekstima, propitujem granice razgovora, a stoga i različitih društvenih imaginarija. U kontekstu Daytonske Bosne i Hercegovine, kao i zemalja koje je okružuju, ovaj oglas dobiva još jednu intimno-političku dimenziju koja se okreće oko osi usamljenosti, nedostatka informacija, boli, Drugosti i traganjem za Drugim.
Through an oversized advertisement in a public space, I simply position myself as a citizen, artist, or human being within a society that often misunderstands and rejects such categories. By reducing the form, I am freeing the work from the generalized category of art, which can often be intimidating or alien to the public, simultaneously opening it up to communication with anyone. All materials that arise after the publication of the ad become part of the documentation – every conversation, call, every message, reactions on social networks and in the media, as well as the absence of reactions. The themes that are opened up or avoided in calls and reactions to the ad are a kind of reflection of the aspirations, ideologies, desires, fears, prejudices, traumas, as well as the linguistic characteristics that permeate a society or the intimacy of the individuals that compose it. By placing the work in different contexts, I question the boundaries of conversation, and therefore of different social imaginaries. In the context of post-war Bosnia and Herzegovina, as well as the surrounding countries, this advertisement takes on an additional intimate-political dimension that revolves around the axis of loneliness, lack of information, pain, Otherness, and the search for the Other.
