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Danijela Matović

Danijela Matović was born in 1998 in Belgrade. He is a fourth year undergraduate student of Stage Architecture, Engineering and Design at the Faculty of Technical Sciences in Novi Sad.

She works in the field of scenography, installations, photography, video work and performance. In the Shock Gallery, the Cooperative realized its second solo exhibition with the work of Dystopia 1: 0, while in the City Cultural Center in 2020, it presented "Space of Reflection", its first solo exhibition. So far, she has participated in seven group exhibitions in Novi Sad and Belgrade. In his exhibition practice, she primarily researches the relationship between the individual and modern society, as well as the circumstances he faces on a daily basis. With his work, she examines the possibility of creating a collective space of consciousness and identity. In the field of stage design, she has realized six projects in the field of theater and film art.

I give up, so I don’t give up. Dystopia 1:0

The work of Dystopia 1:0 is an interactive installation conceived as an ambient temple. At a time when giving up seems simple, the author delves into someone else's intimacy, examining the openness of the individual to introspective dialogue. This work questions the readiness of the audience to interact with the work and testifies to the burning of their own idea, for the sake of not giving up on it. The work removes the visitor from the usual view, so he ceases to be a passive observer and becomes incorporated into the conceptual content of the work of art. During the exhibition, this work creates an intimate relationship of personal and collective giving up, which over time will be a reflection of the interaction between the audience and the work.


What is the language in common for the young people today?

A space of new mutual understanding.

Young people are trying to establish new value systems as well as to fight for the autonomy of their way of expression. We need to create a team that would be a separate and joint body, which is also recognized and respected by the whole society.

What does the process of making one of your pieces look like?

I am often not even aware of the beginning of the realization of my work, because it arises spontaneously in communication with associates and colleagues. When I become aware of the basic idea of ​​the work, I intuitively start thinking about its realization - production, that is, the possibilities and potential difficulties for the work to be realized. In that process, I return to communication with my associates with whom we meticulously define each segment of the work (sound, materials, setting of work in space, lighting, as well as the text about the work). The beauty of the realization of my works is reflected in the cooperation with the people around me, but also the opportunity to meet new people in the realization of new works.

In short, turbulent, intense and uncertain until the last day of the setting.

Which challenges have you faced while making art as you know it?

The first challenge I face is the theme of my work, which I always experience as a living thing. I feel a great responsibility for this living thing, that is, work, to gain honest communication with the observers, and I often use sound and textual narratives. The concrete production of my works is a complex and long-lasting process in which I try to protect the work, that is, not to put myself in a situation where I have to articulate and change the initial idea, for the sake of some compromises conditioned by production.

Do you consider yourself an artist, and what does that word mean to you?


What is your escape from reality? Do you even have a need to escape from something?

I don't have one, but if I wanted to be on a huge meadow in a clearing, I would like to.

What does the word innovative mean to you?

I see innovation as acting in a new and unique way.

Do you have a plan for the future? Where can your artistic practice take you?

I would like to continue in the future with the collaborations I have established so far, but also to achieve new ones, with authors unknown to me. Collaboration with other artists is challenging for me on the one hand, it requires great patience and dedication, on the other hand it is a real pleasure. In the conversation and that joint process, the most interesting thing for me is to get to know the idea, myself and the interlocutor again, and all that takes place only through a joint dialogue.

And it will bankrupt me, that's for sure.

What made the biggest influence on you to become what you are today and do what you do now?

Constant movement in an unfamiliar environment.

How would you describe Serbian (Balkan or European-depends on where you live and work) contemporary cultural scene?

I would describe her as confident, determined and brave.

I think that the audience should be more committed to the topics that young people are dealing with. The audience plays an important role so that the young cultural and artistic scene also depends on its audience. On the other hand, what I would cite as a space for progress is a more relaxed approach to artwork, that is, we need to understand that space for error and experimentation is very important, and not to take our projects too seriously and often tend to paralyze.

In which way does your creative process shape you or changes you as a person, if it does at all?

The process constantly leads me to re-examine the topic I am dealing with, which also means that it never stops, as well as change, which means that this change and process is constant.