Dejan Kaludjerović, Yugoslavia / Austria

Dejan Kaludjerović portrait

Dejan Kaludjerovic was born in Belgrade, ex-Yugoslavia. He graduated from the Academy of Fine Arts in Belgrade in 2004.
Since the beginning of his career in the mid-1990s, Dejan has spoken about looking at the relationship between consumerism and childhood, and analyzing identity formation: ‘My work explores the central role of image in Western society, the social obsession with fear and violence and the structure and mechanisms of capitalism’. Most of his paintings, drawings, videos and installations employ the processes of recycling, copying and reenacting, thus creating patterns that simulate mechanical reproduction, and criticize the homogeneity embedded in popular culture.

With Public Delivery Video festival Fairy Tales, 2015

Fairy Tales - Taipei Museum of Contemporary Art


About
Fairy Tales is a public art project in Taiwan.

Space
Plaza of Museum of Contemporary Art, Taipei, Taiwan

Artists
Lida Abdul, Afghanistan
Said Atabekov, Kazakhstan
Mohamed Bourouissa, Algeria
Chen Chieh-Jen, Taiwan
Cao Fei, China
Yang Fudong, China
Cyprien Gaillard, France
Dejan Kaludjerović, Yugoslavia
Mari Kim, South Korea
Kamin Lertchaiprasert, Thailand
Taus Makhacheva, Russia
Almagul Menlibayeva, Kazakhstan
Mariko Mori, Japan
Ahmet Ögüt, Turkey
Adrian Paci, Italy
Public Delivery, South Korea
Wang Qingsong, China
Walid Raad, Lebanon
Cheng Ran, China & Item Idem, France
Taps & Moses, Germany
Guido van der Werve, Netherlands
Erwin Wurm, Austria
Miao Xiaochun, China


 


5min

Exhibited: Je Suis Malade/ Azerbaijani Version – Fidan ( A cappella), 2014

Je Suis Malade is an on-going project that started in 2008. In each video a child is interpreting the French song Je Suis Malade, originally sung by the Egyptian-born French singer Dalida. The video is filmed in such way that the performer is standing peacefully in a dark space, so all the visitors attention is focused on them. The song speaks about a women, in great pain, due to her love’s lost life, which contrast with the performers’ age and innocence and therefore produce a language and experience foreign to the visitors. This mismatch highlights, for Kaludjerovic, a globalized instrumentalisation of the youth only for the purpose of visual consumption.

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