djurdjina samardzic / may 7, 1996., senta, serbia

djurdjina samardzic is the author of the gg help project, within which she self-initiatively manipulates, experiments and detects the phenomena of the society of the spectacle, subculture, socio-political and social pressure. in her biopolitical artistic practices, she rethinks home, body politics and the boundaries of the discipline with a continuous methodology and thus expands her field of action as a directress, art directress, visual artist,  scene designer, graphic designer, performer, tattoo artist, digital curator etc

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djurdjina samardzic’s artistic research oscilates between the real-life and an online
persona. sometimes these margins are so blurred, the observer who witnesses the
fluidity of these processes cannot clearly distinct what is ’real’ or what is only a
performative act. ontological ethical choices are on the materialization of the body. materialisation is in the actual digitalization of the body as an expansion from the quotidian to the nonhuman body. the body becomes a vehicle carrying the notions of existance, being, becoming, and finally reality.

perhaps this, sometimes hyper sexualized, is a super body, but quite often it is a
complete opposite; it is vulnerable, broken body, a debris or an aftermath of the past events. in these representations the space is fluid. the body is treated as an object, a tool of representation while the space dissolves into the plasticity of disciplinarity. through observation, or participation during these processes certain questions arise:

 

what are inputs that the others in these dialogue bring on a discoursive level? what is it that becomes an exchange between the two, or more, active or perhaps passive participants involved?

in a real time persona, some other aspects which I find crucial in djurdjina’s work are her capacities to verbally express herself and to wholeheartedly participate in various artistic processes that are not exclusively of her own. she is an active and
compassionate collaborator. her strenght lies in participation on an emphatetic yet
critical, importantly often self-critical, observational mode.
 

darko dragicevic