Through a variety of strategies and media, the artworks of Matej Bosnić inquiry the perception of space and its entanglements with past experiential echoes. More than often, his site-specific installations transpose the memory of personal occurrences into universal pattern recognitions in both psychological and anthropological sense.
Moving from traditional figurative painting and drawing, Matej Bosnić’s practice has radically shifted to the observation of a given area and the re-elaboration of its less obvious details, progressively revealing their unnoticed presence through immersive installations that can be perceived as “improvisational sites”. On the one hand, the room sets the tones for how his disseminated spatial interventions, born within the location itself, amplify and modulate pre-existing yet tacit elements. On the other hand, the modes of selection and artistic agency create a radically new atmosphere aiming to resonate with one’s own thoughts, feelings and memories, thus exploring its limits and possibilities.
Like evidences of a story that can’t be fully reconstructed, his interventions elicit the visitor’s personal deductions, bridging the gaps between spatial perception, ambience, and individual experiences.
History, like memories and dreams, are not made of clearly delineated narratives but are a constellations of fragmented details that generate atmospheres, like echoes that resonates beyond the clap that originated them. At the core of Bosnić’s research is the concept of ambience and of the pauses, the empty spaces between the subtle details that constitute it: inspired by his childhood in Croatia, surrounded by traces of a war never experienced directly, his practice inquires the nature of these marks ‘of the absence of a presence’, as Derrida would define them.
Rather than haunting nostalgia, these empty pauses between signs unfold the poetic of pure potentiality, the ungraspable yet-to-come in the form of atmosphere. How does a space feel like when you enter it? Which personal pattern recognitions are activated through the immersion in a certain environment? Is this intimate and resonance an anthropological common ambiance that unite us and, ultimately, isn’t this play between identity and difference the precondition of thought and experience?
Giada Dalla Bonta
2018 Meisterschüler with prof. Thomas Rentmeister, Braunschweig University of Art
2017 Diploma with distinction, class of prof. Thomas Rentmeister, Braunschweig University of Art
2013 Bachelor of Fine Arts, class of prof. Viktor Popovic, Arts Academy in Split
Residencies / Grants
2018 Meisterschüler-Prize, The Brunswick Cultural Heritage Foundation
2018 The Lower Saxony Scholarship 2018, Ministry of Science and Culture of the State of Lower Saxony
2018 Artist-in-residence Johannesburg, Syltfoundation
2018 Artist-in-residence Worpswede, Martin Kausche-Ateliers program
2017 The Deutschlandstipendium 2017, Jörg and Aenne Hinze Foundation, The Federal Government of Germany
2020 Tracing Identities — Kunstverein Wolfenbüttel
2020 White Space — Worringer Platz 5, Düsseldorf
2019 Whence Comes This Rush of Wings — Künstlerstätte Stuhr Heiligenrode, Stuhr
2019 Limbo Jets — gr_und, Berlin
2018 Interiora Patent — Knight’s manor Lucklum, Erkerode
2018 Bitte stören — Municipal Museum of Brunswick, Brunswick
2018 Not yet, Hallenbad — Kultur am Schachtweg, Wolfsburg
2018 Meisterschüler 2018 — Hannover Re, Hannover
2017 Echo — HBK, Brunswick
2017 Tight Intersection — GaDeWe, Bremen
2017 Abstand mit Anstand — Konnektor, Hannover
2017 Sinking — Kunstverein Jahnstrasse, Brunswick
2013 Nafta — Gallery of Fine Arts Split
2013 GraficaRi — Mali salon, Rijeka
2012 In between — Multi art centar, Rijeka
2012 Simultani pejzaž sredozemlja — Salon Galić, Split
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