Photo by Ajla Šalkić

Bojan Stojčić (1988, Sarajevo) is a visual artist from Bosnia and Herzegovina. Most recently, Bojan has exhibited at Graphic Triennall, Tallinn, Cité internationale des arts, Paris and Slavs and Tatars’ Pickle Bar, Berlin. His most recent solo show was in the National Gallery of Bosnia and Herzegovina (2020).

Through his practice, Bojan deals with anticolonial discourse and the affect in meta-Yugoslavian space utilizing collective and individual gaze of the peripheral Other and self. The lived experience of the Bosnian war and the country’s newly formed reality of a European periphery brought Bojan close to extensive states of loss, displacement and transition in the most public and the most intimate ways. Using different media and rooting his voice in humor, poetics and geopolitics, he explores lineages, traces and transitions of the present.

Bojan lives in Sarajevo, where he runs his studio and works as an external associate of Ideologija Creative Team and Center for Critical Thinking. He is the visual director of the Sve su to vještice collective and a member of CRVENA Association for Culture and Arts. Bojan’s work is featured in various collections, such as the agnès b. foundation and the Deutsche Telekom Digital collection.

Artist's website, Instagram and Facebook.

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1. Viva la Transicion, Sarajevo, 2015; 2. The Jump, Sarajevo, 2019; 3. Seeking for a Person, Sarajevo, 2020; 4. Monument to Unknown Communal Worker (detail), Mostar, 2013; 5. Heimweh, Berlin, 2020; 6. History to the Stone, Future to the Wind, Partizansko groblje, Mostar, 2021; 7. Silent Hymn, Hvar, 2020
Artist statement

Misplaced, displaced and missing moments, meanings and forms are at the root of both my work and my individual history. I deconstruct the notions embedded within collective imaginaries surrounding me, deeply affected by the transformations of the social and geopolitical. Having experienced these transformations, I use them - as well as my body - as a tool to explore the (im)possibilities of everyday life by laying bare what is deeply intimate, but not necessarily individual. The techniques and materials I use are heterogeneous and subjected to form and moment. I am most intrigued by what is not there – be it personal, political or poetic. This is what my work articulates and uncovers.

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