WHW Akademija

Photo by: Nevena Lukić

Maša Seničić (b. 1990, Belgrade) is an artist, poet and researcher, working predominantly across multiple forms of text. She is the Co-programmer of Brave Balkans (Belgrade Auteur Film Festival), Program Director of Filmkultura (Association for Education in Audiovisual Culture), and a PhD candidate in the field of Memory Studies and Media Theory at the Faculty of Dramatic Arts in Belgrade. Her work spans institutional and independent projects, mostly in film and literature, where she takes on the role of author, editor-in-chief, or mentor. Some of her projects were presented in the shape of an exhibition (The Golden Coast) or as part of collective workshops/publications (The Cultural Centre of Belgrade, Institute of Network Cultures, Museum of Yugoslavia, etc), and she has also published two awarded books of poetry, Okean (2015) and Povremena poput vikend-naselja (2019). Oriented toward exploratory frameworks and interdisciplinary correlations, her practice results in collective or individual efforts, critical programs, exhibitions, or printed objects shaped less by medium than by context and process.

Artist’s Instagram.

1. An excerpt from Semiessay on photo-memory (Poluesej o foto-sećanju), publication for the exhibition The Case of Poor Images, Artget Gallery, Belgrade, 2022; 2. Poetry workshop that resulted in a collective publication Mesto pesnika u radničkom stroju (The Place For the Poet at the Assembly Line), as part of the exhibition On Factories and Workers, Museum of Yugoslavia, Belgrade, 2023; 3. A Blank Map, an essay about Sarajevo, exhibited in Kula Gallery alongside the photographs of Nemanja Knežević and printed in his photo-publication of the same title (publisher: PAPIR), 2022; 4. There Are Still Some Stones to Carry, artist book, conceived at the MultiMadeira residency, PAPIR, 2016., co-author with Ana Konjović, Nemanja Knežević and Katarina Šoškić; printed in 2023; 4. An excerpt from the poetry book Povremena poput vikend-naselja (As Occasional as a Vacation Home), a conceptual publication with found text and a map, Treći Trg, 2019; 6. Before Language, After Memory, a workshop on asemic writing held during FRAME DH residency, resulting in a collective paper gesture, subsequently exhibited at Arte Fiera, Bologna, 2026; 7. Independent interdisciplinary exhibition Zlatna obala (The Golden Coast), made during an ongoing autoethnographic project, Gallery Miroslav Kraljević, Zagreb, 2020; 8. Pristupi, prelomi (Approaches, Breaks), literary program consisting of conversations and a workshop questioning the nature of books, followed by a temporary library of genre-bending book-like editions, The Cultural Centre of Belgrade, 2025; 9. Situacija stan (Flat, flatlands), an exhibition curated in a private apartment before moving out, which gathered more than fifty established and emerging artists, Belgrade, 2023

Artist statement

My practice is grounded in artistic research and guided by a fascination with language and space as sites of memory, architectural and narrative devices, and containers for conflicting perspectives. Poetry is my primary occupation in the traditional sense, as I write and publish poems in books, collections, and magazines. However, I approach poetry fundamentally as a technique, and poetics as optics — an observational and interpretative system that operates beyond the page. This approach extends into tangible publications that exceed conventional publishing formats, as well as into experiments with asemic writing, through which I question whether the book-object can be considered an autonomous poetic device.

In my personal work, as much as in the workshops I initiate,I rely on non-linear structures to connect intimate inputs with broader historical and political discourse. I am particularly drawn to autoethnographic and site-specific approaches, in dialogue with archival work and found footage or text. Currently, I am developing a notebook-based methodology for critical cartography.

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