Marina Stanimirovic's work is an emotional reflection on forms of power, oppression, loss and resistance. She addresses the perpetuity of violence in social and political structures and explores how this is engraved on and in the human body.
She often thinks of her pieces as fragments of her own bodily reaction and emotions that invite the viewer to move into a space of speculation, in turn triggering their individual perception. Oscillating between construction and deconstruction, these human gestures seem to be searching for their point of balance while assuming their own vulnerability. This translates into modular or mobile volumes that leave space for interpretation and potential change.
The narratives she imagines and the experiences she wishes to transmit thought her sculptures and installations are interlocked with the process of practices. Her background in contemporary jewellery gave her a particular understanding of materials, techniques and details but also intimacy and the value of the relationship between a body and an object. She uses manufactured materials and reference industrial and urban environments. Her emphasis on steel, silicone rubber or glass is an allusion to collective forms of labour, mass consumption. She manipulates them, estrange them from their original use and merge and confront them with the body. Body and flesh, suggested by intuitive and sensitive practices such as spray painting, analog photography, poetry and sound experimentation. This association upsets our understanding of the situation and questions the correlation to our bodily sensations.
THE ANIMAL BEHIND YOUR NECK, by Caro Feistritzer, 2019