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| Mladen Bizumic |
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Born in 1976 in Belgrade, Mladen Bizumic grew up in New Zealand and now lives and works in Vienna and Berlin. He has studied at Elam School of Fine Arts, University of Auckland, New Zealand and was awarded International Residency at the Künstlerhaus Bethanien, Berlin. He has presented solo installations at the Musee D'Art Contemporain, Lyon Biennale 2007, santralistanbul, Istanbul Biennale 2007, Künstlerhaus Bethanien, Berlin Federation Tower, Moscow Biennale 2007, CAC, Vilnius, Zacheta National Museum, Warsaw, Metropolitan Museum, Busan Biennale 2006, Korea, Te Papa - Museum of New Zealand, Wellington and many others.
By working in video, sound, photography, sculpture and other media, Bizumic explores relationships between subjectivity and representation as well as psychological states and physical spaces. By questioning the meaning of various cultural structures, Bizumic systematically explores the bonds that unite individuals, groups, and images to produce new possible connections. The pre-existing cultural material is used as a scenario that is dismantled so that new one can be constructed to release the ‘unconscious’ of human production. Often he invites other artists, musicians, or even his mother psychologist to collaborate with him on exhibitions, formating them as 'translational' models that function as unique experiential occurrences. For example, in his project for Freud Museum (for Her) in Vienna, Bizumic instals a vitrine of architectural fragments from Viennese buildings and paints them in the colour of shadow. These are be accompanied by two commissioned works: a piano piece composed by his Vienna-born fiancee and a ‘psychoanalytic poem’ written by his mother, a psychologist. Local material – the built environment of Vienna – finds its way into a museum, reframed as a self-consciously ‘historical’ display, which, in turn, it is translated and abstracted in both highly structured and oddly subjective ways. For which is the musical note that figures the sound of a built form? What is the ‘unconscious’ of rubble that can be put into a poem?
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