Dragana Jurišić


Dragana Jurišić. Special Award 2019

Medium: Photography

Website: http://www.draganajurisic.com/

Tarantula Paula Meehan 14 Henrietta Street I 14 Henrietta Street II Absorbed 5 Absorbed 7


I am applying for the Golden Fleece Award, as I would greatly benefit from the financial support that will facilitate me in continuing to make work and expand my practice. In the past three years I had fourteen international and national solo shows, a number of significant group shows and I have given countless artist talks. I am seeking support in order to be able to cleave back the time from such a busy schedule and retreat with financial support to create new work. I am currently struggling to make rent on both my living accommodation and the studio space with a part-time job. In the past, I have agreed to a busy talk and workshop schedule in order to support my practice financially, but at this point I feel a need to step off the stage and retreat to the studio and library in order to research and develop new projects.

I am currently working together with poet Paula Meehan on a book about an (in)famous Dublin tenement building, 14 Henrietta Street.

Parallel to this, I am beginning a project The Time of Empty Angels on how Internet contributed to media nihilism. The title came from a philosopher, Peter Sloterdijk. “The time of empty angels is a syndrome in which everyone wants to be a messenger, yet no one makes at least effort to receive the messages of others; everyone wants to cut through the clatter and be heard, be in the control room, get something into print, but unfortunately they’ve got nothing to say. This syndrome, with its unheard messages, results in media nihilism.”

Artist Statement

The story of me as a photographer starts on the day when our family apartment burned down together with thousands of prints and negatives my father, an ardent amateur photographer, had accumulated. On that day I became one of those 'refugees' with no photographs, with no past. Indeed, my memories of the events and people I encountered before that Sunday in September 1991 are either non-existent or very vague. I learned then the power photography has over memory.

My first photobook YU: The Lost Country (2015) was originally conceived as a recreation of a homeland that was lost. It was a journey in which I would somehow draw a magical circle around the country that was once mine and in doing so, resurrect it, following Roland Barthes’ assertion that photography is more akin to magic than to art. Instead, it turned out to be a journey of rejection.

My experience was one of displacement and a sense of exile that was stronger back ‘home’ than in the foreign place where I had chosen to live. Over the last few years the predominant themes of my work are focused on the issues of gender, stereotyping and especially the effects of exile and displacement on memory and identity. The recent work My Own Unknown (2018) focuses on how little people know themselves and how scared and unwilling they are even to try.

Currently I am working primarily with image, text and video installations and planning to expand to sculpture.