Lenka Đorojević

— born in 1982 in Nikšić, Yugoslavia. She is an interdisciplinary artist whose work includes audio-visual installations, video performances, texts, sound works and art education. She holds a BFA from the Academy of Fine Arts in Trebinje (2008) and an MA in Art from the Academy of Fine Arts and Design in Ljubljana (2013). She completed the two-year World of Art – School for Curatorial Practices and Critical Writing, SCCA, Ljubljana (2013). She is a team member of ISU – Institute of Contemporary Art Montenegro. She is a Ph.D. student in Contemporary Theories of Art and Culture and the Aesthetics of New Technologies at the SASA, Ljubljana. Together with Matej Stupica, she received the OHO Award (2015) and the Montenegrin Art Salon “13 November” Award (2019). She is currently employed as a producer in Cukrarna Gallery in Ljubljana where she lives.

The interdisciplinary practice I am developing1, through close collaboration with other artists and collectives, embraces multimediality across various disciplines, including curation2, theory, theater3, performance4, and education5. Through collaborative art projects with Matej Stupica, we have addressed structures of labor, surveillance, and capital, which are deeply connected to the presentations of difference—in its raw manifestations: somatic, affective, aesthetic, and imaginary. In the installations Neuromat6 and Monomat7, which echoed the absurdist work of Russian writer Daniil Harms, we stressed the antagonisms produced by technologically enriched humans and their relationship to work and post-political interpassivity. The fundamental absurdity and dystopian nature of these installations lie in the display of “radical consumption”8 conceived through threshing of the multiplied plaster casts of everyday prostheses9. Progressive self-destruction of the artworks produces the sounds of fragmented and disruptive overproduction to which the cognitive precariat is entitled. The reflection on the annihilation of space by time—both occupied and controlled—has been transformed into the installation Free Fall10, which reveals the total disjunction of contemporary life, manifesting either as a defiance of gravity11 or as life under relentless tension in a world we have turned upside down. We exposed the processes of biopolitical bureaucratization and the disempowerment of the subject in Horizon12—a life-size model of an almost obsolete institutional object designed to facilitate the exchange of information and values, while relying on a veil of secrecy to communicate power and social inequalities. In the performative installation Pieces13, we dissected the impossibility of political action through protests14. Through rhizomatic structure of the work, which consisted of 200 pieces of cheese and 200 banners, we used cut-up techniques, reaffirming methods of appropriation and randomness – principles that are central to surrealist game techniques. Pieces was displayed in a standard exhibition format, addressing social forms of public encounters where viewers become participants, gathering around the act of consuming.

Conceiving the installation Organoid15 I have rethought aspects of the psychopolitical structures of contemporary addictive society, focusing on the relationship between capitalism’s affective dynamics and the individual’s emotional experience, as well as the conceptualization, promotion, and perception of medications within the phenomenon of mass psychotropic pharmaceutical consumption. Do We Acknowledge the Women’s Issue?16 is the sound work commisioned for the Comrades – Women’s Movement in Montenegro 1943 – 1953 project, utilizing excerpts from a text by Vida Tomšič presented to the plenum of the central committee of the AFŽ Yugoslavia and from other sources. A voice of a 9-year old girl who is reading the selection of excerpts intervenes from the present into the past and thus activates the political potentiality of ideas and issues characterizing the AFŽ women’s movement in Yugoslavia and the ongoing emancipation process founded by the anti-fascist resistance movement. A profound sense of emptiness imbues the initial aesthetic of the site-specific objects Flags17, which refer to some of the visual and symbolic characteristics of the ex-Yugoslavian flag variations. Appropriation of the non-existent tricolor national flag combination with the addition of embroidered dystopic slogans18 establishes uncanny bond of the utopistic past and recolonization and re-fascistization of present moment. In the installations EXIT19 and DE(PART)20, I have as well addressed the context of global necro-colonial politics by using the temporal, linguistic and visual phenomena of the ex-Yugoslavian socialist era in relation to the post-Yugoslavian situation—its anomalies, pathologies, and traumas. The speculative forensic objects in the audio-visual installation EXIT21 refer to the experience of the WWII Nazi concentration camp prisoner Hasena Sulojžić Terzić22. They evoke the complex, non-linear intertwining of the phenomena of memory, phantasm, violence and forced labor. EXIT testifies to the existence of something unbreakable and untameable in every human being – the vitality of a life which can never be entirely suppressed and over which no system can have complete control. DE(PART)23 installation is thus an attempt of chronotopological hunt for personal memory and the memory inscribed in physical-cultural objects, which—through their interdependent gaps—speculatively activate incisions in the pathology of times. Like a search for a time lost in the parts of fading memory, documentary and textual-visual traces are transformed into a play of evocation between image and picture, as well as image and object, evoking an atmosphere of absence and distorted reality at the same time.  

Through the interplay of various temporary encounters, systems, disciplines, and methods, I delve into speculative interpretations of the ambivalence surrounding the phenomena of image, violence, memory, time, and space, testing their impermeable imprints on subjective, aesthetic, and social symbolic registers. Central to this exploration is the poetic and political power of transgression.

1Since 2011 I have been working as an artist, curator and writer in close cooperation with the City of Women Festival, Project Atol, Ljudmila Art and Science Laboratory, SCCA Ljubljana and Radio Študent. In 2013 I founded and worked within the OFFTIR Association for visual and sound art (link1)(link2). Since 2015 I am a team member of ISU - Institute of Contemporary Art Montenegro. Participating in the creation of spaces of commons and hybrid collectives opened up new ways of rethinking the possibilities of artistic research and sharing different models of knowledge.


2AThe exhibition Zig Zag included the works of nine artist and collectives, presenting multilayered relationships between feminism and autonomously formed socially relevant discourses from the territories of the former Yugoslavia. 

2BImage: Transfer I Circuits, City of Women, Old Power Station, Ljubljana, Slovenia, 2018, photo: Nada Žgank.
The exhibition Transfer | Circuits, curated with Alja Lobnik have selected 35 archival video materials of artists from the field of performing arts who have played a crucial role in the formation of the performative scene and practices (theatre, dance, performances) in the City of Women festival's history as well as in the broader cultural environment.Link 2b.1, link 2b.2
Link: https://mrezni-muzej.mg-lj.si/en/news/34/transfer-circuits/


3ÜberŠkrip, theatre show, Slovenian Youth Theatre - the Mladinsko Theatre, Ljubljana, 2016 photo: Anja Seničar
Director: Jelena Rusjan
Dramaturgy: Andreja Kopač
Set and Costume Design: Lenka Đorojević, Matej Stupica
Music: Aldo Ivančič
Choreography: Branko Potočan
Video: Jure Lavrin
Video Technology and Mapping: Boštjan Čadež
Proofreader: Mateja Dermelj
Lighting Design: David Cvelbar
Sound Design: Jure Vlahovič
Makeup Design: Nathalie Horvat
Stage Manager: Urša Červ


4Sonny, performance, Old Power Station Ljubljana, City of Women, 2018 photo: Nada Žgank
Author and Perfomer: Nataša Živković
Performers: Daniel Petković, Loup Abramovici, Slobodan Malić
Space design and scenography: Lenka Đorojević
Lighting design and technical direction: Špela Škulj
Photography: Nada Žgank
Advising: Teja Reba


5The educational program of the Milčik Award is structured in such a way that all applying artists participate in the 8-month program, which includes lectures, discussions, workshops and mentoring by international and local lecturers in the fields of contemporary art, theory, aesthetics and society. The Milčik Award for Young Visual Artists is named after the artwork Milčik (2002) by Montenegrin artist Milija Pavićević, a limited series of Milčik chocolates is produced for each Milčik Award, this artwork activates the importance of fostering mutual respect, trust and support in culture, as well as investing in art and artists.
Link: https://isu.institute/milcik-2/

The alternative education program Preoccupations focused on the critical, emancipatory, and educational role of culture, an area that has received very little attention in Montenegro. It included the creation of an additional literature collection called Corner for Contemporary Art and Reading, and Conversations in the Museum - a series of lectures and workshops by cultural workers from the former Yugoslavia.
Link: https://isu.institute/ucenje/


6Image: Lenka Đorojević & Matej Stupica, 
Neuromat, installation, Beyond the Globe, 
8th Triennial of Contemporary Art – U3, 
Museum of Modern Art, Ljubljana, 2014, 
photo: courtesy of the artists
Multiplication and moulding: Neža Jurman, 
Rok Mohar
Multiplication and motorization: Boris Košak
Multiplication: Blaž Božič
Wiring: Simon Bergoč & Tina Dolinšek
Electro-advice: Brane Ždralo
Telephony & Last minute: Luka Frelih
Telephony & Audio book editing: Staš Vrenko
Audio book mix: Jure Gruden
Lights: Martin Lovšin Schintr
Wording and editing: Ida Hiršenfelder
Wording and translations: Bojan Stefanović
Proofreading: Miha Kelemina
Public Relations: Polona Torkar
DIY workshop participants: Urša Dolinšek, 
Polona Torkar, Nina Sever, Sara Šabjan, 
Julijan Strajnar & Tilen Nedanovski
Production: Zavod Projekt Atol & Društvo Ljudmila
Producers: Uroš Veber & Tina Dolinšek

Link 1

Link 2: Neuromat, artist book,

Link 3: Online edition of the Neuromat artist book 


7Image: Lenka Đorojević & Matej Stupica, Monomat, 
installation, Museum of Contemporary Art, 
photo: Martin Lovšin Schintr. 
In the collection of the MG+MSUM, Ljubljana.
Electronics & Programming: Brane Ždralo
Technical realization: Martin Lovšin Schintr
Multiplication & motorization: Neža Jurman, Boris Košak, Rok Mohar
Production: Zavod Projekt Atol, Društvo Ljudmila
Coproduction: Igor Remeta, Strip Core
Link: https://www.matejstupica.net/paintinginstallation/monomat/


8Image: Lenka Đorojević & Matej Stupica, Neuromat, installation, Beyond the Globe | 8th Triennial of Contemporary Art – U3, Museum of Modern Art, Ljubljana, 2014, U3, photo: courtesy of the artists
Video: Neuromat, Beyond the Globe | 8th Triennial of Contemporary Art – U3, Museum of Modern Art, Ljubljana, 2014, https://vimeo.com/180409590


9Image: Lenka Đorojević & Matej Stupica, Monomat, installation, Bigger than Myself. Heroic voices from ex-Yugoslavia, MAXXI: Museo nazionale delle arti del XXI secolo, Rome, Italy, 2021 photo: courtesy of the artists. Video: Monomat, Bigger than Myself. Heroic voices from ex-Yugoslavia, MAXXI: Museo nazionale delle arti del XXI secolo, Rome, Italy, 2021, https://vimeo.com/142054888


10The installation Free Fall consists of a spatial intervention and a video performance.
Image: Lenka Đorojević & Matej Stupica, Free Fall, installation, Gallery P74, Ljubljana, Slovenia, 2016, photo: courtesy of the artists
Link: http://www.matejstupica.net/paintinginstallation/free-fall/

[desc number="11" lang="eng" img="https://secondaryarchive.org/wp-content/uploads/2025/03/11_Image-Lenka-Dorojevic_-Matej-Stupica_Free-Fall_-video-still-1.jpg"]Image: Lenka Đorojević & Matej Stupica, Free Fall, video still, Gallery P74, Ljubljana, Slovenia, 2016, courtesy of the artists
Performers: Katarina Stegnar and Primož Bezjak
Camera and editing: Marko Cvejić
Lighting and technical support (video): Martin Lovšin Schintr
Video post-production: Jure Lavrin
Sound: Jernej Černalogar


12Image: Lenka Đorojević & Matej Stupica, Horizon, object, All Our Secrets, Center for Contemporary Arts, Celje, Slovenia, 2018, photo: courtesy of the artists
Link: https://www.matejstupica.net/paintinginstallation/horizont/ 

13Image: Lenka Đorojević & Matej Stupica, Pieces, installation, ALkatraz Gallery, Ljubljana, Slovenia, 2018, photo: Nada Žgank, KUD Mreza Archive

Link: https://www.matejstupica.net/paintinginstallation/pieces/

14Image: Lenka Đorojević & Matej Stupica, Pieces, artist book, 2018, photo: courtesy of the artists
Link: https://www.matejstupica.net/artistsbook/pieces-book/


15Image: Lenka Đorojević, Organoid, installation, Central Station, Maribor, 2018, photo: Matej Stupica
 Link: Organoid, Don’t Let the Future Leave you Behind, gif, https://www.mg-lj.si/en/online-exhibitions/2888/viral-portraits/#page/56, Viral Self-Portraits, Museum of Modern Art, Ljubljana, 2020


16Lenka Đorojević, DO WE ACKNOWLEDGE THE WOMEN’S ISSUE?, sound work, 11'15'', UG Miodrag Dado Đurić, Cetinje, Montenegro, 2017
The title of the sound work is taken from the speech of the president of AFŽ Yugoslavia, Vida Tomšič, Postoji li kod nas žensko pitanje? [DO WE ACKNOWLEDGE THE WOMEN’S ISSUE?], from the magazine of AFŽ Yugoslavia, Žena Danas, no. 3, 1952. The documentary materials used are from the periodicals of the Anti-Fascist Women's Front of Yugoslavia and Montenegro: Žena Danas and Naša Žena.
Voice: Petra Tadić
Postproduction of sound: Iva Stanišić
Sound: https://femkanje.rs/#lenka-dorojevic 


17Flags are site-specific objects installed in the entrance of the Museum of Modern Art in Ljubljana as a part of 9th Triennial of Contemporary Art U3: Dead and Alive, 2019
Design: Matej Stupica


18Flag Slogan 1: Don’t let the future leave you behind; Flag Slogan 2: Work until you die; Flag Slogan 3: Until stocks last.
Image: Lenka Đorojević, Flags, site-specific objects, 9th Triennial of Contemporary Art U3: Dead and Alive, Museum of Modern Art, Ljubljana, 2019, photo: Dejan Habicht, with courtesy of Museum of Modern Art Ljubljana


19EXIT was commissioned at the invitation of the curator Natalija Vujošević and as part of the Goethe-Institut Belgrade exhibition project Missing Stories. Forced Labour under Nazi Occupation. An Artistic Approach.
Consultation: Jadranka Ještrović, Hasena Terzić-Sulojdžić's daughter
Writer of The Asaltian: Radovan Vujadinović
Voice: Lidija Kordić
Design: Matej Stupica
Wood work: Wood/Mood - Martin Lovšin Schintr and Miran Bratuš
Metal work: Andraž Tarman
Programming: Matic Potočnik
Sound recording: Nemanja Bečanović
Sound post-production: Miha Šajina
Translation: Milica Vuković Stamatović
Proofread: Matthew Whiffen
In the collection of the Museum of Contemporary Art of Montenegro, Podgorica.

Image: Lenka Đorojević, EXIT, audio-visual installation, Corneous Stories, Škuc Gallery, 2020, photo: Nada Žgank
Link: https://mestozensk.org/en/festival/2010/artwork/140


20Image: Lenka Đorojević, (DE)PART, installation, Here, but Somewhere Else, Škuc Gallery, 2023. Courtesy of the artist and Nada Žgank.
In 1957, Tito’s relay became the Relay of Youth, and Tito's birthday, 25 May, was declared the Day of Youth. The new holiday was celebrated at the JNA Stadium in Belgrade, and included a slet in the form of mass stage performances and the ceremonial handing over of the relay baton to Tito.
Production of bars: Bojan Stefanović 
Metal work: Uroš Mehle


21Image: Lenka Đorojević, EXIT, audio-visual installation, Salon of the Museum of Contemporary Art Belgrade, 2019, photo: Bojana Janković
Link: https://missingstories.unilib.rs/artist/lenka-djorojevic/ 



22Image: Portrait of Hasene Hulojdžić Terzić, with courtesy of Jadranka Ještrović, Hasena's daughter. The young partisan Hasena Sulojdžić-Terzić from Pljevlja, Montenegro, during her seven-month captivity in the German concentration camp Ludwigsfelde, worked underground for an aircraft factory the facilities of which were owned by Daimler-Benz, today’s Mercedes-Benz corporation. Hasena's experience of death, represented through the narration of the story The Alsatian, testifies to the power of life and the struggle for freedom, which allow for the possibility of subversion, interruption, and exit.

Mlada partizanka Hasena Sulojdžić-Terzić iz Pljevalja u Crnoj Gori koja je tokom sedmomjesečnog zarobljeništva u njemačkom koncentracionom logoru Ludvigwselde radila pod zemljom za fabriku aviona, čija su postrojenja bila u posjedu Daimler-Benza, sadašnje multinacionalke Mercedes-Benz. Hasenino iskustvo smrti predstavljeno kroz naraciju priče Vučijak svjedoči o snazi života i borbi za slobodu, koji omogućavaju mogućnost subverzije, prekida i izlaza.


23Image: Lenka Đorojević, (DE)PART, installation, Here, but Somewhere Else, Škuc Gallery, 2023. Courtesy of Nada Žgank. The front page of the newspaper Svet za sutra [World for Tomorrow] shows gymnasts taking part in the Youth Day Slet on 25 May 1975; one of them is my mother.

— rođena 1982. u Nikšiću, Jugoslavija. Interdisciplinarna je umjetnica čiji rad obuhvata audio-vizuelne instalacije, video performanse, tekstove, zvučne radove i umjetničko obrazovanje. Diplomirala je na Akademiji likovnih umjetnosti u Trebinju (2008), a magistrirala na Akademiji za likovnu umjetnost i oblikovanje (ALUO) u Ljubljani (2013). Završila je dvogodišnji program Svijet umjetnosti – Škola za kustoske prakse i kritičko pisanje pri SCCA-Ljubljana (2013). Članica je Instituta za savremenu umjetnost Crne Gore (ISU). Doktorandica je na studiju savremenih teorija umjetnosti i kulture te estetike novih tehnologija pri Slovenskoj akademiji znanosti i umjetnosti (SAZU) u Ljubljani. Zajedno s Matejem Stupicom dobila je Nagradu OHO (2015) i Nagradu Crnogorskog salona „13. novembar“ (2019). Trenutno je zaposlena kao producentkinja u Galeriji Cukrarna u Ljubljani, gdje živi i radi.

Interdisciplinarna praska, koju razvijam kroz bliske saradnje sa drugim umjetnicima i kolektivima obuhvata multimedijalnost kroz različite discipline, uključujući kuriranje, pozorište, performans i edukaciju. 

Kroz kolaborativne umjetničke radove s Matejem Stupicom, ukazujemo na strukture rada, nadzora i kapitala, koje su duboko ukorijenjene u reprezentacijama različitosti — u njihovim sirovim manifestacijama: somatskim, afektivnim, estetskim i imaginarnim. U instalacijama Neuromat i Monomat, kroz koje odjekuje eho apsurdističkih djela Danila Harmsa, naglasili smo antagonizme koje proizvode tehnološki usavršeni ljudi i njihov odnos prema radu i post-političkoj interpasivnosti. Temeljni apsurd i distopijska priroda ovih instalacija ogleda se u prikazu »radikalne potrošnje« osmišljene kroz razbijanje  umnoženih gispanih odlivka svakodnevnih proteza. Progresivno samouništenje umjetničkih djela proizvodi zvukove fragmentisane i destruktivne prekomjerne proizvodnje za koju je kognitivni prekarijat vezan. Refleksija o uništenju prostora posredstvom vremena — kako okupiranog, tako i kontrolisanog—pretopljena je u instalaciju Slobodni pad, koja otkriva potpunu iščašenost savremenog života, manifestovanu kao prkos gravitaciji ili kao život pod neumoljivim tenzijama u svijetu koji smo okrenuli naopačke.

Procese biopolitičke birokratizacije i lišavanja subjekta moći, razotkrili smo u Horizontu, modelu prirodnih razmjera gotovo zastarjelog institucionalnog objekta dizajniranog da olakša razmjenu informacija i vrijednosti, ali koji se oslanja na veo tajni za komunikaciju moći i društvenih nejednakosti. U performativnoj instalaciji Pieces seciramo nemogućnost političkog djelovanja kroz proteste. Kroz rizomsku strukturu djela, sačinjenog od 200 komada sira i 200 transparenata, služili smo se cut-up tehnikama, reafirmišući ključne principe tehnika nadrealističke igre kao što su aproprijacija i slučajnost. Pieces je bio predstavljen u standardnom izložbenom formatu, time ukazujući na društvene oblike javnog susreta, u kojima posmatrači postaju učesnici, okupljajući se oko čina konzumacije.

Stvarajući instalaciju Organoid, preispitivala sam aspekte psihopolitičkih struktura savremenog zavisničkog društva, fokusirajući se na odnos između afektivne dinamike kapitalizma i emocionalnog iskustva pojednica, te na konceptualizaciju, promociju i percepciju lijekova unutar fenomena masove psihotropne farmaceutske potrošnje. Postoji li kod nas žensko pitanje? je zvučni rad nastao za projekat Drugarice – ženski pokret u Crnoj Gori 1943 – 1953, koji je između nekoliko izvora primarno koristio odlomke iz teksta Vide Tomšić predstavljenog plenumu centralnog komiteta AFŽ-a Jugoslavije. Glas devetogodišnje djevojčice koja čita odabrane fragmente interveniše iz sadašnjosti u prošlost, aktivirajući politički potencijal ideja i pitanja koja su obilježila pokret žena AFŽ-a u Jugoslaviji i proces nikada završene emancipacije utemeljene antifašističkim otporom. Duboki osjećaj praznine prožima početnu estetiku site-specific objekta Zastave, koja referiše na neke od vizuelnih i simboličkih karakteristka zastava bivših republika Jugoslavije. Aproprijacija nepostojeće trobojke s dodatkom izvezenih distopijskih slogana uspostavlja uznemirujuću vezu utopijskog prošlog, naspram rekolonizacije i refažizacije sadašnjeg trenutka. 

U instalacijama EXIT i (S)LET takođe sam se usredotočila na kontekst globalne nekrokolonijalne politike korišćenjem vremenskih, jezičkih i vizuelnih fenomena iz socijalističke ere bivše Jugoslavije u odnosu na postjugoslovensku situaciju — njene anomalije, patologije i traume. Spekulativni forenzički objekti u audio-vizuelnoj instalaciji EXIT referišu na iskustvo zatvorenice Hasene Sulojžić Terzić u nacističkom koncentracionom logoru tokom Drugog svjetskog rata. Oni evociraju složeno, nelinearno preplitanje fenomena sjećanja, fantazma, nasilja i prisilnog rada. EXIT svjedoči o postojanju nečeg neuništivnog i neukrotivog u svakom čovjeku — vitalnosti života koja se nikad do kraja ne može zatrijeti, i nad kojom nijedan sistem nema potpunu kontrolu. Instalacija (S)LET je time pokušaj hronotopološkog lova na lično sjećanje i sjećanje upisano u fizičko-kulturne objekte, koji kroz međuzavisne praznine spekulativno aktiviraju rezove u patologiji vremena. Poput potrage za vremenom izgubljenim u dijelovima sjećanja koje blijedi, dokumentarni i tekstualno-vizuelni tragovi transformišu se u igru evokacije između slike i prikaza, kao i slike i objekta, prizivajući atmosferu odsutnosti i distorzirane stvarnosti istovremeno.

Kroz interakciju različitih privremenih susreta, sistema, disciplina i metoda, zalazim u spekulativne interpretacije ambivalentnosti oko fenomena slike, nasilja, sjećanja, vremena i prostora, testirajući njihove neizbrisive otiske na subjektivnim, estetskim i društvenim simboličkim registrima. Srž ovog istraživanja je poetska i politička moć transgresije.

1
Od 2011. godine radim kao umjetnica, kustoskinja i spisateljica u bliskoj saradnji sa Festivalom City of Women (Mesto Žensk), Projekt Atol, Ljudmila Art and Science Laboratory, SCCA Ljubljana i Radio Študent. Godine 2013. osnovala sam i radila u okviru OFFTIR-a, udruženja za vizuelnu i zvučnu umjetnost (link1)(link2). Od 2015. članica sam tima ISU – Institut za savremenu umjetnost Crne Gore. Učešće u stvaranju prostora zajedničkih dobara i hibridnih kolektiva otvorilo je nove načine preispitivanja mogućnosti umjetničkog istraživanja i razmjene različitih modela znanja.


2A
Izložba Zig Zag uključivala je radove devet umjetnica i kolektiva, predstavljajući slojevite odnose između feminizma i autonomno oblikovanih društveno relevantnih diskursa s područja bivše Jugoslavije.



2B
Transfer I Circuits, City of Women, Stara elektrarna, Ljubljana, Slovenija, 2018, foto: Nada Žgank.
Izložba Transfer | Circuits, koju sam kurirala sa Aljom Lobnik, sadržala je 35 arhivskih video-materijala umjetnica iz oblasti izvedbenih umjetnosti koje su odigrale ključnu ulogu u formiranju performativne scene i praksi (teatar, ples, performans) kako u istoriji festivala City of Women, tako i u širem kulturnom okruženju. Link 2b.1, link 2b.2
Link: https://mrezni-muzej.mg-lj.si/en/news/34/transfer-circuits/



3
ÜberŠkrip, pozorišna predstava, Slovensko mladinsko gledališče – Mladinsko teatar, Ljubljana, 2016, foto: Anja Seničar
Režija: Jelena Rusjan
Dramaturgija: Andreja Kopač
Scenografija i kostimografija: Lenka Đorojević, Matej Stupica
Muzika: Aldo Ivančič
Koreografija: Branko Potočan
Video: Jure Lavrin
Video mapiranje: Boštjan Čadež
Lektor: Mateja Dermelj
Svjetlo: David Cvelbar
Zvuk: Jure Vlahovič
Šminka: Nathalie Horvat
Scenski menadžer: Urša Červ


4
Sonny, performans, Stara elektrarna, Ljubljana, City of Women, 2018, foto: Nada Žgank
Autorka i izvođačica: Nataša Živković
Izvođači: Daniel Petković, Loup Abramovici, Slobodan Malić
Prostorni dizajn i scenografija: Lenka Đorojević
Svjetlo i tehnička realizacija: Špela Škulj
Fotografija: Nada Žgank
Savjetovanje: Teja Reba


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Edukativni program nagrade Milčik strukturiran je tako da svi umjetnici koji se prijave učestvuju u osmomjesečnom programu, koji uključuje predavanja, diskusije, radionice i mentorsko praćenje od strane međunarodnih i lokalnih predavača iz oblasti savremene umjetnosti, teorije, estetike i društva. Nagrada Milčik za mlade vizuelne umjetnike nazvana je po umjetničkom djelu Milčik (2002) crnogorskog umjetnika Milije Pavićevića, a za svaku nagradu proizvedena je ograničena serija čokolada Milčik. Ovo umjetničko djelo aktivira važnost njegovanja međusobnog poštovanja, povjerenja i podrške u kulturi, kao i ulaganja u umjetnost i umjetnike.
Link: https://isu.institute/milcik-2/

Alternativni edukativni program Preokupacije fokusirao se na kritičku, emancipatornu i edukativnu ulogu kulture, oblasti kojoj je u Crnoj Gori posvećeno vrlo malo pažnje. Uključivao je stvaranje dodatne zbirke literature pod nazivom Kutak za savremenu umjetnost i čitanje, te Razgovore u muzeju – seriju predavanja i radionica kulturnih radnika iz bivše Jugoslavije.
Link: https://isu.institute/ucenje/




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Foto: Lenka Đorojević & Matej Stupica, Neuromat, instalacija, Beyond the Globe, 8. trijenale savremene umjetnosti – U3, Muzej moderne umjetnosti, Ljubljana, 2014, foto: ljubaznošću umjetnika
Odlivanje i kalupljenje: Neža Jurman, Rok Mohar
Umnožavanje i motorizacija: Boris Košak
Umnožavanje: Blaž Božič
Elektro-instalacije: Simon Bergoč & Tina Dolinšek
Elektro-savjeti: Brane Ždralo
Telefonija & last minute: Luka Frelih
Telefonija & obrada audio knjige: Staš Vrenko
Miks audio knjige: Jure Gruden
Svjetlo: Martin Lovšin Schintr
Tekst i montaža: Ida Hiršenfelder
Tekst i prevodi: Bojan Stefanović
Lektor: Miha Kelemina
Odnosi s javnošću: Polona Torkar
Učesnici DIY radionice: Urša Dolinšek, Polona Torkar, Nina Sever, Sara Šabjan, Julijan Strajnar & Tilen Nedanovski
Produkcija: Zavod Projekt Atol & Društvo Ljudmila
Producenti: Uroš Veber & Tina Dolinšek

Link 1

Link 2: Neuromat, knjiga umjetnika

Link 3: Online izdanje knjige umjetnika Neuromat  


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Foto: Lenka Đorojević & Matej Stupica, Monomat, instalacija, Muzej savremene umjetnosti, u zbirci MG+MSUM, Ljubljana. Ustupljeno ljubaznošću Martina Lovšin Schintr.
Elektronika & programiranje: Brane Ždralo
Tehnička realizacija: Martin Lovšin Schintr
Umnožavanje & motorizacija: Neža Jurman, Boris Košak, Rok Mohar
Produkcija: Zavod Projekt Atol, Društvo Ljudmila
Koprodukcija: Igor Remeta, Strip Core
Link: https://www.matejstupica.net/paintinginstallation/monomat/


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Foto: Lenka Đorojević & Matej Stupica, Neuromat, instalacija, Beyond the Globe | 8. trijenale savremene umjetnosti – U3, Muzej moderne umjetnosti, Ljubljana, 2014, U3, foto: ljubaznošću umjetnika.
Video: Neuromat, Beyond the Globe | 8. trijenale savremene umjetnosti – U3, Muzej moderne umjetnosti, Ljubljana, 2014, https://vimeo.com/180409590


9Foto: LSlika: Lenka Đorojević & Matej Stupica, Monomat, instalacija, Bigger than Myself. Heroic voices from ex-Yugoslavia, MAXXI: Museo nazionale delle arti del XXI secolo, Rim, Italija, 2021, foto: ljubaznošću umjetnika.
Video: Monomat, Bigger than Myself. Heroic voices from ex-Yugoslavia, MAXXI: Museo nazionale delle arti del XXI secolo, Rim, Italija, 2021. 
link: https://vimeo.com/142054888


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Instalacija Slobodni pad sastoji se od prostorne intervencije i video performansa.
Foto: Lenka Đorojević & Matej Stupica, Free Fall, instalacija, Galerija P74, Ljubljana, Slovenija, 2016, foto: ljubaznošću umjetnika
Link: http://www.matejstupica.net/paintinginstallation/free-fall/


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Foto: Lenka Đorojević & Matej Stupica, Free Fall, video still, Galerija P74, Ljubljana, Slovenija, 2016, ljubaznošću umjetnika
Performeri: Katarina Stegnar i Primož Bezjak
Kamera i montaža: Marko Cvejić
Svjetlo i tehnička podrška (video): Martin Lovšin Schintr
Video postprodukcija: Jure Lavrin
Zvuk: Jernej Černalogar


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Foto: Lenka Đorojević & Matej Stupica, Horizont, objekat, u sklopu All Our Secrets, Centar za savremene umjetnosti, Celje, Slovenija, 2018, foto: ljubaznošću umjetnika
Link: https://www.matejstupica.net/paintinginstallation/horizont/


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Foto: Lenka Đorojević & Matej Stupica, Pieces, instalacija, Galerija Alkatraz, Ljubljana, Slovenija, 2018, foto: Nada Žgank, KUD Mreža Arhiva
Link: https://www.matejstupica.net/paintinginstallation/pieces/


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Foto: Lenka Đorojević & Matej Stupica, Pieces, umjetnička knjiga, 2018, foto: ljubaznošću umjetnika
Link: https://www.matejstupica.net/artistsbook/pieces-book/



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Slika: Lenka Đorojević, Organoid, instalacija, Centralna stanica Maribor, 2018, foto: Matej Stupica
Link: Organoid, Don't Let the Future Leave You Behind, gif, https://www.mg-lj.si/en/online-exhibitions/2888/viral-portraits/#page/56, Viral Self-Portraits, Muzej moderne umjetnosti, Ljubljana, 2020



16Lenka Đorojević, DO WE ACKNOWLEDGE THE WOMEN’S ISSUE?, sound work, 11'15'', UG Miodrag Dado Đurić, Cetinje, Montenegro, 2017
The title of the sound work is taken from the speech of the president of AFŽ Yugoslavia, Vida Tomšič, Postoji li kod nas žensko pitanje? [DO WE ACKNOWLEDGE THE WOMEN’S ISSUE?], from the magazine of AFŽ Yugoslavia, Žena Danas, no. 3, 1952. The documentary materials used are from the periodicals of the Anti-Fascist Women's Front of Yugoslavia and Montenegro: Žena Danas and Naša Žena.
Voice: Petra Tadić
Postproduction of sound: Iva Stanišić
Sound: https://femkanje.rs/#lenka-dorojevic 


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Lenka Đorojević, POSTOJI LI KOD NAS ŽENSKO PITANJE?, zvučni rad, 11'15'', Crnogorska galerija umjetnosti Miodrag Dado Đurić, Cetinje, Crna Gora, 2017
Naslov zvučnog djela preuzet je iz govora predsjednice AFŽ Jugoslavije Vide Tomšič, Postoji li kod nas žensko pitanje?, iz časopisa AFŽ Jugoslavije Žena Danas, br. 3, 1952. Korišteni su dokumentarni materijali iz periodike Antifašističkog fronta žena Jugoslavije i Crne Gore: Žena Danas i Naša Žena.
Glas: Petra Tadić
Postprodukcija zvuka: Iva Stanišić
Zvuk: https://femkanje.rs/#lenka-dorojevic


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Zastave su site-specific objekti instalirani na ulazu u Muzej moderne umjetnosti u Ljubljani u sklopu 9. trijenale savremene umjetnosti U3: Dead and Alive, 2019
Dizajn: Matej Stupica


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slogan zastave 1: Nemoj dozvoliti budućnosti da te ostavi iza sebe; slogan zastave 2: Radi dok ne umreš; slogan zastave 3: Dok traju zalihe.
Foto: Lenka Đorojević, Flags, site-specific objekti, 9. trijenale savremene umjetnosti U3: Dead and Alive, Muzej moderne umjetnosti, Ljubljana, 2019, foto: Dejan Habicht, uz dozvolu Muzeja moderne umjetnosti Ljubljana


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EXIT je realizovan na poziv kustoskinje Natalije Vujošević i u okviru izložbenog projekta Missing Stories. Forced Labour under Nazi Occupation. An Artistic Approach.
u organizaciji Goethe-Instituta Beograd. 
Konsultacija: Jadranka Ještrović, kćerka Hasene Terzić-Sulojdžić
Autor teksta Alzatijac: Radovan Vujadinović
Glas: Lidija Kordić
Dizajn: Matej Stupica
Drvorezbarstvo: Martin Lovšin Schintr i Miran Bratuš
Metalurgija: Andraž Tarman
Programiranje: Matic Potočnik
Snimanje zvuka: Nemanja Bečanović
Postprodukcija zvuka: Miha Šajina
Prevod: Milica Vuković Stamatović
Lektor: Matthew Whiffen
U zbirci Muzeja savremene umjetnosti Crne Gore, Podgorica.

Foto: Lenka Đorojević, EXIT, audio-vizuelna instalacija, Corneous Stories, Galerija Škuc, 2020, foto: Nada Žgank
Link: https://mestozensk.org/en/festival/2010/artwork/140


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Foto: Lenka Đorojević, (DE)PART, instalacija, Here, but Somewhere Else, Galerija Škuc, 2023. Ustupljeno ljubaznošću umjetnice i Nade Žgank.
Godine 1957. Titova štafeta postala je Štafeta mladosti, a Titov rođendan, 25. maj, proglašen je Danom mladosti. Nova praznica slavljena je na stadionu JNA u Beogradu i uključivala je slet u obliku masovnih scenskih nastupa i svečano predavanje štafete Titu.
Produkcija šipki: Bojan Stefanović
Metalurgija: Uroš Mehle


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Foto: Lenka Đorojević, EXIT, audio-vizuelna instalacija, Salon Muzeja savremene umjetnosti Beograd, 2019, foto: Bojana Janković
Link: https://missingstories.unilib.rs/artist/lenka-djorojevic/


22Foto: Mlada partizanka Hasena Sulojdžić-Terzić iz Pljevalja u Crnoj Gori koja je tokom sedmomjesečnog zarobljeništva u njemačkom koncentracionom logoru Ludvigwselde radila pod zemljom za fabriku aviona, čija su postrojenja bila u posjedu Daimler-Benza, sadašnje multinacionalke Mercedes-Benz. Hasenino iskustvo smrti predstavljeno kroz naraciju priče Vučijak svjedoči o snazi života i borbi za slobodu, koji omogućavaju mogućnost subverzije, prekida i izlaza.


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Foto: Lenka Đorojević, (DE)PART, instalacija, Here, but Somewhere Else, Galerija Škuc, 2023. Ustupljeno ljubaznošću Nade Žgank. Naslovna strana novina Svet za sutra prikazuje gimnastičarke koje učestvuju na Sletu za Dan mladosti 25. maja 1975; jedna od njih je moja majka.