fellows

Katarina Gotic Damiani (b. 1994) is a Bosnian-Herzegovinian poet dwelling in the in-between: between poetry and conceptual art, learned and mother tongue(s), Bosnia and Germany, between now and then, and then and further then. Katarina is the author of two poetry collections, we need a breathing tongue between (kith books, 2024) and leerlauf (upcoming), as well as several visual and performance pieces, all rooted in language. She has received numerous grants and awards for her work, including the Work Stipend for Non-German Literature, Research Scholarship for Translators, and the Project and Reading Series Funding awarded by the Berlin Senate. She has exhibited, performed, and read across Bosnia and Germany. Katarina is currently working on an “associative translation” of Paul Celan’s Atemwende into her mother tongue(s). She lives in Berlin.

Artist's webpage and Instagram.

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1. – 2. codified absence (2022, –), an erasure of the Schengen Borders Code; 3. Otkazna Pisma (2024), collaborative visual collage. From the exhibition “Poetry in an expanded field”, KRAK Centar, Bihać, photo by Mehmed Mahmutović; 4. Still from a performance piece zamelte | dihtung (2024); 5. “Overbound” from we need a breathing tongue between (kith books, 2024); 6. NAŠ ELVIS (2023), from VENAC; 7. [she finds no thorn] from leerlauf; 8. [o, i’d kiss the snow] from leerlauf
Artist statement

My home is bordered. Like the carrying currents of our river, the borders are palpable: I am not the other, and the other is not me. Somebody tells me, this river is crossable. One day, I swim across – shore to shore, south to north – in that north, become another:

poet - language = poet(translated)

When I began writing “a breathing tongue”, I began in my mother tongue(s). Months of composing and erasing left me with five unordered, crossed-out pages: in all attempts to avoid words resonant with nationalist propaganda, my language was left barren. In fear of drowning, I swam to another. In that other, I became another, and the other with me othered. Here, up north, I line its ‘word-caves’ – back and forth, here and there – I clothe them until they finally breathe anew. I mistrust my mother tongue. When I inhabit it, I live as a foreigner: I collage, scribble, translate. I reshape what is already written.

In what language writes a poet(translated)?

A language that is

carried (on shoulders), cut-up, sang, left and captured, slow, amalgamated, foreign, clothed, lined, resonant, drowned, drowned, drowned, drowned and swam across:

does it still breathe?

oh, how it still breathes!

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