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I tried controlling how the piece was read, because I didn’t want it to be interpreted in this “Balkan savage” kind of way. From then on, I decided to exclude all biographical information from my work.
I don’t want that part of my life to be used and consumed.
ENA GROZDANIĆ: Today, an existence without a biography seems almost impossible.
Our personal histories are embedded online for display and consumption.
The content is still there, but it is seen, it doesn’t have the signifiers of rejection.
That’s a vital facet of art—art has to seduce first, and then deliver meaningful content. You’ve said that art is as political as wedding planning. IH: I don’t believe that art is here to provide a social service, an infrastructure, or a good feeling. Capitalism formats every aspect of our lives including art, robbing it of any revolutionary power.
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I’ve been working with Till Wiedeck, a German graphic designer, since 2013.
I still work with materials from my origin, but I search for ways to think about the Balkans as a universal signifier of what is urgent in the world today.
EG: Aside from eliminating biography, are there other ways to control the way your art is read?
If we were capable of this in World War II, imagine the things taking place today. But people relished in the “Balkan-ness” of the piece, failing to grasp universality.
I’m not a control freak but I was shocked by that reception—I honestly didn’t see it coming.
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