Photo by Vijai Patchineelam

Adrijana Gvozdenović was born in Titograd in 1986. She grew up in Podgorica and finished her Fine Art studies in Montenegro. From 2012-2020 she mostly lived in Belgium, wandering "Who is Adrian Lister?". She obtained a Master in Vrije Kunsten (Luca School of Arts Brussels) and an advanced Master of Research in Art and Design (St Lucas Antwerpen).

At the same time, she made a living as free-lance technical support for the production of museum exhibitions. This early experience inspired her works The great wall, The stones that were almost exhibited in a museum, … and later, it pushed her practice more towards artistic research and motivated the desire for a different engagement of artists within art institutions, through/outside the exhibition format.

During 2019, she was employed at the Royal Academy of Fine Arts Antwerp with her research project Archiving Artistic Anxieties, and from 2017-2020 she was part of a.pass Research Center in Brussels.

Along with these activities, she was active in the program conceptualization and organization for the non-governmental art organization ICA-Institute for Contemporary Art, in Montenegro.

Her most recent works and artistic engagements are realized through close collaborations: co-curating the three-month postgraduate program Not in the mood (a.pass, Brussels), research project Anthropomorphic Trouble (Art Catalyst, Sheffield and Whitechapel Gallery, London), exhibition This situation has developed over a long time (ŠKUC Gallery, Ljubljana), video work Water made to move (SCHUNCK, Heerlen), card-reading performance 7 anxieties and the world (Glasmoog Cologne, GMK Zagreb, CIAP Hasselt).

Artist's website.

Realization of her project within WHW Akademija is co-financed by the Ministry of Culture and Media of Montenegro.

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1.-2. video stills from the film Water made to move, commissioned by SCHUNK Museum Heerlen, 2021 (in collaboration with Vijai Patchineelam); 3.-4. Nail art affects reading sessions, a.pass Brussels, 2021 (in collaboration with Sara Manente); 5. jam jar Between anxiety and hope at the exhibition This situation has developed over a long time, ŠKUC gallery, Ljubljana 2021, photo by Simao Bessa; 6.-7. Anthropomorphic trouble, (in collaboration with Goda Palekaitė), Whitechapel London 2021, photo by Katarzyna Perlak; 8. Subtracted Seduction (in collaboration with Pia Louwerens, Eleanor Ivory Weber, Teresa Cos), Hectolitre Brussels 2019, photo by Steven Jouwersma.
Artist statement
Anxious Parasites will Save the Worlds:
proclaiming the victory to confess the struggle


I do and do not take place within a proper body. I am pretending to be an artist, and that’s the only way I can be one. I am you and you are not only yourself. You were not supposed to inhabit this role in the first place. You irritate. You are foreign. You continuously associate with and detach from, without the delusions of consensus. You start by giving a speech which at times turns to conversation. You and I form a relationship that is in constant alterity with itself, shifting between intimacy and alienation. In relation to our common languages and histories, we recognize (self)censorship driven by our own interests and benefits that you and I derive from it. We find it challenging to think about what comes after pushing the walls or exposing their (hidden) structures, sitting on the relations between those walls, formed by their structures. We don’t expose, we negotiate our interdependence. We wish to form a subvisible world, one which is crucial to the larger worlds we are part of. In this sense, we are not interested so much to describe the world of art and certain positions of (im)potencies of the artist as anxious parasites in relation to it, but more to allow and make visible different and many concerns, doubts, apprehensions in their interconnectedness.

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