A leap into the Void
GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo
2 February – 28 May 2023
Kunstpalais, Erlangen, Germany
10 December 2022 – 5 March 2023
Log Into Our Sea
Greater Taipei Biennial of Contemporary Arts, New Taipei City
28 October – 30 December 2022
Future Bodies from a Recent Past
Museum Brandhorst, Munich
2 June 2022 – 13 January 2023
Born 1981, Novi Sad, former Yugoslavia. 1984 relocated to Slovenia. Lives and works in Berlin.
Untitled (In my Feelings), Kunsthalle Osnabrück (forthcoming)
Garage Exchange: Aleksandra Domanović and Jen Liu, The MAK Center: Mackey Garage Top Gallery, Los Angeles
Becoming Another, Audemars Piguet Contemporary, Berlin
Worldometers, Tanya Leighton, Berlin
Edicije, Klosterfelde Edition, Berlin
A leap into the Void, GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo (forthcoming)
Pattern Recognition, Kunstpalais, Erlangen, Germany (forthcoming)
Log Into Our Sea, Greater Taipei Biennial of Contemporary Arts, New Taipei City
Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s, Museum Brandhorst, Munich
Among the Machines, Zabludowicz Collection, London
Adjustable Monuments, Sammlung Philara, Düsseldorf
On Hannah Arendt: Truth and Politics, Richard Saltoun, London
Iskra Delta, 34th Ljubljana Biennial of Graphic Arts, Ljubljana
The Dreamers, 58th Belgrade Biennial, Serbia
The Endless Frontier, Baltic Triennial 14, Vilnius
Spatial Affairs, Ludwig Museum, Budapest
Things to Come
Domanović looks at the history and development of technology through a gender-conscious lens. Her work specifically focuses on the point at which machine meets, interfaces and touches the human user.
In her first institutional solo exhibition in Scotland, at the Gallery of Modern Art, Glasgow in 2014, Domanović focuses on the marginalised representation of women within popular science fiction film. Using the building’s position and architectural features, Domanović has re-contextualised the gallery by installing large sculptural prints on transparent foil. Films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013) form the source material for prints of objects that interact, or form an important part of the female characters’ narrative. These films deviate from the conventional representation of women in cinema: as mother, love interest or victim.
The material used is similar to the celluloid sheets historically used by animation houses to draw and layer cartoon animations. Domanović discovered that the mechanical filling in of the cartoon outlines was women’s work; the actual art-working was
reserved only for men. This repetitive activity echoes the work undertaken in the exhibition’s building 135 years ago when the Gallery of Modern Art, Glasgow was a telephone exchange staffed entirely by women, who were referred to as ‘computers’. Domanović’s exhibition is a multi-referential exploration of the role of women in technology, both past, present and in the fictive future.
Presented alongside Domanović’s exhibition ‘Things to Come’ is a collection of DVDs collated by the artist and Dr Leonie Cooper. It is the product of their discussion and research about science fiction and its significance today.