1971, Sarajevo, Bosnia and Hercegovina
Local Globalism, 2008
Installation with seven record players and seven silk-screen printed vinyl records, approximately 2,5 sq.m
Acquisition: Gift by the artist
Reference: 05069
Biography
Nada Prlja is a visual artist, whose main aim is to affect society in the most direct of ways, challenging critical discourse around issues of current politics, nationalism, human rights, migration, etc. Prlja’s work adopts site or context-specific qualities or affects certain social conditions, and often varies in terms of the choice of media from project to project. She works mainly in installation, video installation, live art and public art; her practice includes drawing, painting and sculpture.
Prlja was born in 1971 in Sarajevo, Bosnia and Hercegovina and lived in Skopje, (1981-98 and 2014-18) and in London 1998-2013. She currently lives and works between Copenhagen and Skopje.
Source: https://nadaprlja.com/
1981, Zwolle, Netherland
New Unions, 2016/2019
Installation, variable dimensions
Acquisition: Gift by the artist
Reference: 05916
Biography
Jonas Staal (Netherlands, 1981) is a visual artist whose work deals with the relation between art, propaganda, and democracy. He is the founder of the artistic and political organization New World Summit (2012–ongoing). Together with Florian Malzacher he co-directs the training camp Training for the Future (2018-ongoing), and with the human rights lawyer Jan Fermon he has initiated the collective action lawsuit Collectivize Facebook (2020-ongoing). With writer and lawyer Radha D’Souza he founded the Court for Intergenerational Climate Crimes (2021-ongoing) and with Laure Prouvost he is co-administrator of the Obscure Union. Exhibition-projects include Art of the Stateless State (Moderna Galerija, Ljubljana, 2015), After Europe (State of Concept, Athens, 2016), The Scottish-European Parliament (CCA, Glasgow, 2018) and Museum as Parliament (with the Democratic Self-Administration of Rojava, Van Abbemuseum, Eindhoven, 2018-ongoing), Extinction Wars (with Radha D’Souza, Gwangju Museum of Art, 2023) and Propaganda Station (Museum of Contemporary Art, Skopje, 2024). His projects have been exhibited widely at venues such as the Stedelijk Museum in Amsterdam, M_HKA in Antwerp, Moderna Museet in Stockholm and the Nam June Paik Art Center in Seoul, as well as the 7th Berlin Biennale, the 31st São Paulo Biennale and the 12th Taipei Biennale. Publications include Steve Bannon: A Propaganda Retrospective (Het Nieuwe Instituut, 2018), Propaganda Art in the 21st Century (The MIT Press, 2019) and Training for the Future Handbook (with co-editor Florian Malzacher, Sternberg Press, 2021). Staal completed his PhD research on propaganda art at the PhDArts program of Leiden University, the Netherlands.
1981, Diyarbakır, Turkey
Living Beings Squatting Institutions (The Weimaraner Dog of the Museum of Fine Arts Boston), 2020
Plaster, 105 x 157 x 74
Acquisition: Gift by the artist
Reference: 05225
1987, Fier, Albania
Small House, Home Sweet Home, 2014
350 plaster and acrylic colored houses, each 5 x 5 cm
Acquisition: Gift by the artist
Reference: 5277
Kent, United Kingdom
Seeds of Change, 2019
Intstallation: wood, metal, ultraviolet lighting, glass, soil, green roof, substrate and capillary matting, wildflowers and printed veiles
Acquisition: Gift by the artist
Reference: 05278
Dan Turner is an artist and educator from London, a Romani born in Kent. Dan trained at St Martins School of Art where he completed a BA Honours in Fine Art (Sculpture). He works across mediums including sculpture, video and painting .
Dan’s practice explores the interaction between Romany and mainstream culture through themes of commercial interchange in Romani life.
He is interested in how human life can be defined and archived through the objects that are made and how these objects communicate across timelines through a shared ‘material’ culture and how they articulate that culture to a wider audience, This is particularly in relation to the Romany community. He sees his art as a reclamation of public space – where once there was a visible Romani presence now there is an absence. He believes there is a need to reset the transactional balance between Traveller and non Traveller, establish dialogue and alter entrenched attitudes.
By using Transactional Objects which have significance across both cultures, Turner examines how Gypsy, Roma and Traveller cultures meet and interact with the dominant culture. Working with migration maps of Roma diasporas and using traditional crafts and occupations such as herbalism, peg and wooden flower making and fortune telling Turner re- imagines Roma past, present and future to challenge mainstream culture’s view of our Roma identities.
Source: danturnerartist.com/about/
1987, Uroshevac, Kosovo
Barking on the Clouds Doesn’t Hurt the Dogs, 2022
Welded iron letters and broken glass, 60 x 840 cm
Acquisition: Gift by the artist
Reference: 5308
1971, Skopje, Macedonia
Hypsifobia, 2000
Installation, wooden ladders, photography, text
Acquisition: Purchased
Reference: 03978
1962 Skopje, Macedonia
Closed Echo, 1996
Installation with 12 objects, variable dimensions; polyester, photography, metal holders, steel stripes, sand, pigment
Acquisition: Gift from the artist
Reference: 04055
1960, Dubnica, Serbia
Labyrinth III, 1997
Floor object with newspapers, 175 x 248 x 5 cm
Acquisition: Purchased
Reference: 03975
1956, Kavadarci, Macedonia
Kite of All Kites, 1986/2019
Straw, wooden construction, 400 x 300 x 120 cm
Acquisition: Purchased
Reference: 03653
Biography
In 1981 Stefanov graduated from the Academy of Arts in Belgrade, where he also studied as a post-graduate (1983-5). From the outset of his career, Stefanov treated sculpture as an object or an installation of objects. In the mid-1980s he set up several installations and assemblages made of cotton, straw, grass, clay and wood in public sites in Kavadarci and galleries in Skopje, Belgrade, and Zagreb. In 1986 he held a solo show at the Museum of Contemporary Art in Skopje, an installation with “Kites”, made of straw. In 1988 he settled in London, where the narrative aspects of his work shifted from mythology to religion. In the early 1990s, he produced a series of objects and installations entitled Seraphim, Cherubim, and Thrones in the form of angels’ wings and discs, executed in straw and boards or tree trunks and branches set up in the Whitechapel Art Gallery (Broadgate Sculpture Project, 1989), London, the Grizedale Forest (1990) in Cumbria and in Cirencester (1991). In 1993, together with the sculptor Petre Nikoloski (b 1959), he exhibited in the Macedonian section of the 45th Venice Biennale. In 2019 a retrospective exhibition Gligor Stefanov: Grabbing the Space took place at the Museum of Contemporary Art Skopje. (z.p.)
