Darija Dragojlović
Darija Dragojlović (1996, Kraljevo) completed her Master’s studies at the Academy of Arts in Novi Sad, majoring in painting, and attended various professional development programs in the field of conservation and restoration of cultural heritage. She has participated in numerous interdisciplinary (Art and Science) and inclusive projects, as well as art colonies. Darija is a member of SULUV and Šok ZaDruga (MMC “Led Art”), where she worked as a gallery curator and editor of the art program. Since 2021, she has been actively involved in all projects implemented by MMC “Led Art.” She is the author of numerous texts and editor of several publications in the field of art. While developing her independent artistic practice, she prioritizes collective work. In her practice, she explores various natural and social phenomena, using diverse media such as drawing, photography, site-specific installations, and video art. She has held ten solo exhibitions and participated in numerous group exhibitions in Serbia. She lives and works in Novi Sad, as the coordinator of the visual arts program at the Student Cultural Center of Novi Sad.
I initially studied applied and later classical painting. After mastering various drawing, painting, and graphic techniques, I often faced a personal challenge: how to ensure I didn’t subordinate myself to the technique but used it as a means to express my thoughts. After completing my studies, I stopped painting because I couldn’t find a justified reason to use painting as a method for the works I wanted to create.
During my Master’s studies, I began volunteering at the Multimedia Center Led Art (Šok ZaDruga) 1. This was a major turning point for me for several reasons. First, it was my initial step into public action through various Led Art initiatives, responding to a social reality that often headed in the wrong direction 2 The principles of group work—where intergenerational knowledge, experience, and collective engagement in current events in cultural policy form the core of action—made this informal education far more influential in my future work, allowing me to think about art outside academic frameworks. As a resident member of Led Art, I gained experience in organizing and implementing cultural events, as well as editing programs, publications, and discussions.
In my work so far, I would highlight a few perspectives from which I primarily start: a personal relationship with natural phenomena and human influence on environmental changes 3 4 5 6 7 8; the borderline between the natural and the artificial 9 10 11 12 13 14; and the (in)separability of ecology and politics 15 16 17. In my work, I often like to use facts from various scientific research and philosophical interpretations, placing them in reversed, unpredictable, or ironic contexts. I frequently use multiple media simultaneously to create an interdisciplinary approach that feels close to me. For these reasons, participation in Art and Science 18 19 20 programs, as well as inclusive projects and those based on the relationship between theory and practice, is essential to me.
I believe that art should critique and question at the same time. However, I do not wish to label my artistic practice with terms such as ecological, feminist, anti-war art, and so on. I believe such labels confine the work within a specific framework, where the audience is led to conclude or assess whether the work fits the assigned category successfully or not. I consider a work engaged if it addresses the environment and present moment it belongs to and relates to. I see the artist and art as a system dealing with new connections between the existing and creating new contexts, rather than a system for producing new ideas.
As a member of the last millennial generation, I encounter challenges related to transitions from analog to digital, the relationship between the individual and the collective, as well as the local and global. Initially, I felt burdened to define my field of action, the medium close to me, and my themes. However, I find the fluidity of the present moment more aligned with me and something that motivates my further engagement. I strive to make my daily life part of artistic processes and to influence the cultural policy of the community in which I live. I often feel like a hobbyist who, in bursts of free time, manages to devote herself to her work. The conditions for artists in Serbia are not good, largely due to a lack of criticism, professionalism, and a clear system for funding art, as well as systemic degradation of culture where there is no defined art market or a system of evaluation based on objective criteria. Thus, I consider myself more of a volunteer in the field of art than an established artist
1
See: https://sokzadruga.com/about/
2
Darija Dragojlović, Image: The performance "In Times of Crisis, the Bite Is Stronger!" is a work by the artistic group Led Art, performed three times: on October 31, 2021, in front of the Hotel Belgrade, as part of the ART WEEKEND BELGRADE event; on August 2, 2022, at the closing of the exhibition "ReCAPITULATION: Disobedient Objects/Subjects 1992–2022" on the plaza in front of the Museum of Contemporary Art of Vojvodina in Novi Sad; and on December 4, 2022, on the plaza in front of the Belgrade Cultural Center for the closing of the 59th October Salon. Photo: Viktor Šekularac
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/2-9-scaled.jpg
3
Darija Dragojlović, Image: The exhibition "Dragons Were Once Here," Dom omladine Belgrade, SULUV, 2022. Photo: private archive of the artist
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/3-scaled.jpeg
4
Darija Dragojlović, Image: The exhibition "Dragons Were Once Here," Dom omladine Belgrade, SULUV, 2022. Photo: private archive of the artist
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/4-6-scaled.jpg
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Darija Dragojlović, The exhibition "Dragons Were Once Here," Dom omladine Belgrade, SULUV, 2022. Photo: private archive of the artist
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/5-1-scaled.jpeg
6
Darija Dragojlović, Image: The exhibition "Thinking About the Biotope (What Do I Not Want to See?)," Reflektor Gallery, Užice, 2022. Photo: private archive of the author
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/6-8-scaled.jpg
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Darija Dragojlović, Image: Image: The exhibition "Thinking About the Biotope (What Do I Not Want to See?)," Reflektor Gallery, Užice, 2022. Photo: private archive of the author
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/7-8-scaled.jpg
8
Darija Dragojlović, Image: The exhibition "Thinking About the Biotope (What Do I Not Want to See?)," Reflektor Gallery, Užice, 2022. Photo: private archive of the author
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/8-7-scaled.jpg
9
Darija Dragojlović, Image: "Natural Doubts in an Artificial Space," installation, 2024. The work was presented at the exhibition of finalists for the Dimitrije Baščićević Mangelos Award for 2024, at the Remont Gallery
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/9-8.jpg
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Darija Dragojlović, Image: "Natural Doubts in an Artificial Space," installation, 2024. The work was presented at the exhibition of finalists for the Dimitrije Baščićević Mangelos Award for 2024, at the Remont Gallery
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/10-5.jpg
11
Darija Dragojlović, Link: Darija Dragojlović and Zoran Erić, "Natural Doubts in an Artificial Space", video, 2024. https://www.youtube.com/watch?v=rjhh3DRJg1c
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Darija Dragojlović, Image: "Artificial Creations," a series of drawings, 2023–2024. Photo: Marko Ercegović (MSUV)
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/12-6-scaled.jpg
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Darija Dragojlović, Image: "Artificial Creations," a series of drawings, 2023–2024. Photo: Marko Ercegović (MSUV)
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/13-7-scaled.jpg
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Darija Dragojlović, Image: "Artificial Creations," a series of drawings, 2023–2024. Photo: Marko Ercegović (MSUV)
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/14-5-scaled.jpg
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Darija Dragojlović, Image: The exhibition "LR / cd, Taxon Dependent on Protection (On the Same Task)," Šok ZaDruga Gallery, Novi Sad, 2021. A project by the Goethe-Institut Belgrade
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/15-5-scaled.jpg
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Darija Dragojlović, Image: "Artificial Creations (Who Writes Red Books?)," a series of drawings, 2024. Photo: Private archive
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/16-5.jpg
17
Darija Dragojlović, Image: "The Case of Birds (Die größte Gefahr liegt in der Luft / The Greatest Danger Is in the Air)," 2024. Photo: Private archive of the author
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/17-1.png
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Darija Dragojlović, Image: "Wave-Making Generator," Group exhibition "Shift in the Code, SMIC - Move in Code," 2021. Photo: Courtesy of SULUV
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/18-3-scaled.jpg
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Darija Dragojlović, Image: "Wave-Making Generator," Group exhibition "Shift in the Code, SMIC - Move in Code," 2021. Photo: Courtesy of SULUV
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Darija Dragojlović, Image: Terrarium or Simulating an Ecosystem Enclosed by Glass and a Red Heating Element, Group exhibition Shift in the Code, 2022. Photo: Courtesy of SULUV
See:
https://secondaryarchive.org/wp-content/uploads/2025/03/20-4-scaled.jpg![]()
Darija Dragojlović (1996, Kraljevo). Završila je master studije na Akademiji umetnosti u Novom Sadu – smer slikarstvo, i pohađala različite programe stručnog usavršavanja u oblasti konzervacije i restauracije kulturnog nasleđa. Učestvovala je na brojnim interdisciplinarnim (Art and Science) i inkluzivnim projektima, kao i likovnim kolonijama. Članica je SULUV-a i Šok ZaDruge (MMC “Led Art”-a), u okviru koje je radila kao galeristkinja i urednica likovnog programa. Od 2021. aktivno učestvuje u svim projektima koje sprovodi MMC „Led Art”. Autorka je brojnih tekstova i urednica više publikacija u polju umetnosti. Razvija samostalnu umetničku praksu, ali u prvi plan stavlja kolektivni rad. U svojoj praksi propituje različite prirodne i društvene fenomene, koristeći raznovrsne medije poput crteža, fotografije, prostorno specifičnih instalacija i video umetnosti. Realizovala je deset samostalnih i učetsvovala u više grupnih izložbi u Srbiji. Živi i radi u Novom Sadu, kao realizatorka likovnog programa u Studentskom kulturnom centru Novi Sad.
Studirala sam primenjeno, a potom i klasično slikarstvo. Nakon što sam savladala razne crtačke, slikarske i grafičke tehnike često sam nailazila na problem sa samom sobom, pre svega kako da se ne podredim tehnici već da je koristim kao sredstvo prikazivanja onoga što mislim. Nakon završetka studija više nisam slikala, jer nisam nalazila opravdanog razloga da koristim slikarski postupak za radove koje sam želela da realizujem.
Tokom master studija, počela sam da volontiram u nevladinoj organizaciji Multimedijalni centar Led Art (Šok ZaDruga). 1 To je za mene bila ogromna prekratnica iz više razloga. Pre svega, jer sam tada prvi put istupila u javnost kroz razne akcije Led Art-a, reagujući na društvenu stvarnost koja je često išla u krivom smeru. 2 Principi rada u grupi, gde su transgeneracijsko znanje i iskustvo, ali i kolektivno uključivanje u aktuelna dešavanja u kulturnoj politici glavni stubovi delovanja, učinili su da ovo neformalno obrazovanje postane zapravo mnogo uticajnije u mom daljem radu, omogućivši mi da o umetnosti ne razmišljam u akademskim okvirima. Kao dežurna članica Led Art-a, stekla sam iskustvo u organizaciji, realizaciji kulturnih događaja, kao i u uređivanju programa, publikacija i razgovora.
U svom dosadašnjem radu izdvojila bih nekoliko perspektiva od kojih primarno polazim: lični odnos prema prirodnim fenomenima i uticaj čoveka na promene u životnoj sredini 3 4 5 6 7 8, granično polje prirodnog i veštačkog 9 10 V 11 12 13 14, (ne)odvojivost ekologije od politike 15 16 17. U radu često volim da koristim činjenice preuzete iz raznih naučnih istraživanja, filozofskih tumačenja, stavljajući ih u obrnute, nepredvidive ili ironične kontekste. Neretko koristim više medija paralelno kako bih kreirala meni blizak, interdisciplarni pristup. Iz tih razloga, bitna su mi učešća na programima Art and Science 18 19 20, kao i u inkluzivnim projektima i onim baziranim na odnosu teorije i prakse.
Stanovišta sam da umetnost treba da kritikuje i da propituje u isto vreme. Ipak, ne želim svojoj umetničkoj praksi da dodeljujem etikete poput ekološka, feministička, antiratna umetnost i tako dalje. Verujem da takve etikete stavljaju rad u jedan određeni okvir, gde se publika navodi da zaključi ili proceni da li se rad uspešno uklopio u zadatu kategoriju ili ne. Smatram da je rad angažovan ako se tiče sredine i sadašnjice kojoj pripada i na koju se odnosi. Umetnika/umetnicu i umetnost vidim kao sistem koji se bavi novim povezivanjima postojećeg i kreiranjem novih konteksta, pre nego sistemom proizvodnje novih ideja.
Kao pripadnica poslednje milenijalske generacije nailazim na izazove koje se tiču tranzicija iz analognog u digitalno, odnosa individualnog i društvenog, ali i lokalnog i globalnog. Prvobitno sam osećala opterećenje da definišem svoje polje delovanja, medij koji mi je blizak, kao i teme. Ipak, nalazim da je fluidnost koje sadašnjica pruža nešto što mi je bliže i što podstiče moju volju za daljim angažovanjem. Trudim se da moja svakodnevnica bude deo umetničkih procesa i da utičem na kulturnu politiku sredine u kojoj živim. Često se osećam kao hobista koji u naletima slobodnog vremena uspeva da se posveti svom radu. Uslovi u Srbiji za umetnice i umetnike nisu dobri i to je u velikoj meri tako zbog nedostatka kritike, profesionalizma i jasnog sistema finansiranja umetnosti, ali i sistemskog degradiranja kulture u kojoj nema definisanog umetničkog tržišta, kao ni sistema vrednovanja zasnovanog na objektivnim kriterijumima. Stoga sebe smatram pre volonterkom u polju umetnosti nego etabliranom umetnicom.
1
Pogledaj: https://sokzadruga.com/about/
2
Slika: Darija Dragojlović, Performans „U periodu krize, jače se grize!” je rad umetničke
grupe Led Art koji je izveden tri puta: 31. oktobra 2021. ispred Hotela
Beograd u Beogradu u sklopu manifestacije ART WEEKEND
BELGRADE, 2. avgusta 2022. na zatvaranju izložbe „ReKAPITULACIJA:
Neposlušni objekti / subjekti 1992 – 2022” na platou ispred Muzeja savremene
umetnosti Vojvodine u Novom Sadu, i 4. decembra 2022. na platou ispred
Kulturnog Centra Beograd povodom zatvaranja 59. oktobarskog salona. Foto: Viktor Šekularac.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/2-9-scaled.jpg
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Darija Dragojlović, Slika: Izložba „Ovde su nekad bili zmajevi“, Dom omladine Beograd, SULUV, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/3-scaled.jpeg
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Darija Dragojlović, Slika: Izložba „Ovde su nekad bili zmajevi“, Dom omladine Beograd, SULUV, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/4-6-scaled.jpg
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Darija Dragojlović, Slika: Izložba „Ovde su nekad bili zmajevi“, Dom omladine Beograd, SULUV, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/5-1-scaled.jpeg
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Darija Dragojlović, Slika: Izložba „Razmišljanje o biotopu (Šta ne želim da vidim?)“, Galerija Reflektor, Užice, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/6-8-scaled.jpg
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Darija Dragojlović, Slika: Izložba „Razmišljanje o biotopu (Šta ne želim da vidim?)“, Galerija Reflektor, Užice, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/7-8-scaled.jpg
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Slika: Izložba „Razmišljanje o biotopu (Šta ne želim da vidim?)“, Galerija Reflektor, Užice, 2022. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/8-7-scaled.jpg
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Slika: „Prirodne nedoumice u veštačkom prostoru“, instalacija, 2024. Rad je prikazan na izložbi finalista Nagrade
Dimitrije Baščićević Mangelos za 2024. u galeriji Remont.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/9-8.jpg
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Darija Dragojlović, Slika: „Prirodne nedoumice u veštačkom prostoru“, instalacija, 2024. Rad je prikazan na izložbi finalista Nagrade
Dimitrije Baščićević Mangelos za 2024. u galeriji Remont.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/10-5.jpg
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Link: Darija Dragojlović i Zoran Erić, „Prirodne nedoumice u veštačkom prostoru“, video, 2024.
Pogledaj:
https://www.youtube.com/watch?v=rjhh3DRJg1c
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Slika: „Veštačke tvorevine“, serjia crteža, 2023-2024. Foto: Marko Ercegović (MSUV)
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/12-6-scaled.jpg
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Darija Dragojlović, Slika: „Veštačke tvorevine“, serjia crteža, 2023-2024. Foto: Marko Ercegović (MSUV)
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/13-7-scaled.jpg
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Darija Dragojlović, Slika: „Veštačke tvorevine“, serjia crteža, 2023-2024. Foto: Marko Ercegović (MSUV)
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/14-5-scaled.jpg
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Darija Dragojlović, Slika: Izložba „LR / cd, Takson zavisan od zaštite (Na istom zadatku), Galerija Šok ZaDruga, Novi Sad, 2021. Projekat Gete Instituta Beograd.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/15-5-scaled.jpg
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Darija Dragojlović, Slika: „Veštačke tvorevine (Ko piše crvene knjige?)“, serija crteža, 2024. Foto: Privatna arhiva.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/16-5.jpg
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Darija Dragojlović, Slika: „Slučaj – Ptice (Die größte gefahr liegt in der luft/Najveća opasnost je u vazduhu)“ 2024. Foto: privatna arhiva autorke.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/17-1.png
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Darija Dragojlović, Slika: „Generator za pravljenje talasa“, Grupna izložba „Pomeraj u kodu, SMIC - pokretna forma“, 2021. Foto: Ljubaznošću SULUV.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/18-3-scaled.jpg
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Darija Dragojlović, Slika: „Generator za pravljenje talasa“, Grupna izložba „Pomeraj u kodu, SMIC - pokretna forma“, 2021. Foto: Ljubaznošću SULUV.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/19-3-scaled.jpg
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Darija Dragojlović, Slika: Terarijum ili Simuliranje ekosistema ograđenog staklom i crvenim grejnim telom, Grupna izložba Pomeraj u kodu, 2022. Foto: Ljubaznošću SULUV.
Pogledaj:
https://secondaryarchive.org/wp-content/uploads/2025/03/20-4-scaled.jpg![]()
