Photo by Igor Ripak
Nadežda Kirćanski (1992, Zrenjanin, Serbia) is a visual artist. She graduated from the Faculty of Fine Arts in Belgrade, Department of Sculpture in 2017. She has accomplished seven solo shows, and has participated in numerous shows and residency programs both in her country and abroad. Kirćanski’s artistic practice employs a range of media, including drawing, objects, and site-sensitive installations. Throughout her practice she aims to examine the collision of socio-political realities and contemporary language, unfolding its hidden emotional, physical, and intellectual labor.
Nadežda Kirćanski received several scholarships and awards, including the Young Visual Artist Award “Dimitrije Bašičević Mangelos” in 2018. Her works are part of many private collections as well as the Wiener Art Collection. She is represented by the New gallery of visual arts in Belgrade, where she lives and works.
1. #RIP, site-specific ambient installation, combined technique (lightboxes, tin boxes with water, sand and candles), dimensions variable, 2017; 2. jusqu’ici tout va bien, porcelain, 103 pieces, work in process 2021; 3. A view from the Crna ti solo show with Sanja Latinović, New Gallery of Visual Arts; 4. Bensedin, watercolor, 35x32cm, 2020; 5. Bread, watercolor, 54x54cm, 2020; 6. A dime, watercolor, dimensions, 2020; 7. pinky promise, temporal intervention in public space, ca. 100 copies, 2017; 8. Airmax, watercolor, 44x103cm, 2020; 9. u pete, watercolor, 81x61cm, 2018; 10. Canesten, watercolor, 38x38cm, 2020; 11. Maxbet, watercolor, 42x26cm, 2020; 12. nista spec 1.0 / not much 1.0, site-sensitive ambient installation, dimensions variable, Youth Center gallery, Belgrade, 2018; 13. u prste, watercolor, 44x61cm, 2018; 14. Ventolin, watercolor, 46x58cm, 2020; 15. jusqu’ici tout va bien, levothyroxine blister packs, 35x30x7cm, 2017
My name is Nadežda Kirćanski and I am a visual artist, primarily educated as a sculptor. My artistic practice employs a range of media, including drawing, objects, and site-sensitive installations. Throughout my practice I aim to examine the collision of socio-political realities and contemporary language, unfolding its hidden emotional, physical, and intellectual labor. Hidden labor refers to the labor that is economically unacknowledged, implicit labor, which I treat and examine in my works as a crucial attribute of the accelerated realm of contemporary life. New realities that orbit around it, enabled partially due to accessibility of the internet, carry violent, irreversible distortions of languages, time, and space. Witnessing this time and space stretching has affected and amplified my sculptural practice but has also sharpened my focus on the importance of community and solidarity, collaborative and cohabitative practices. Accordingly, besides acting individually as a visual artist, I am often engaged in organizing workshops, residencies, collective studio practices, curatorial practices. Altogether, I consider all these activities to be equally important parts of my practice.