Adrijana Gvozdenović

six people are sitting and standing in a dimly lit galley space reading brochures or looking at something out of shot. They are all wearing masks to protect them from COVID-19.
Anthropomorphic Trouble Performance Event. Whitechapel Gallery. Goda Palekaitė and Adrijana Gvozdenović
Ten or so polished brown and white stones along with grey fossils are strewn on a blue and white cloth lit by a blue light from the right hand side of the image
Anthropomorphic Trouble Performance Event. Whitechapel Gallery. Goda Palekaitė and Adrijana Gvozdenović. Credit Katarzyna Perlak
In a darkened gallery space a group of people sit on cushions and bean bags. Ther figures are silhouetted by a large projection on one wall that shows a turquoise ocean with the words Anthropomorphic Trouble overlaid in white letters.
Anthropomorphic Trouble Performance Event. Goda Palekaitė and Adrijana Gvozdenović. Credit Katarzyna Perlak

Adrijana Gvozdenović (Montenegro) is an artist interested in artists’ motivation and ways of resisting (self)institutionalised structures. In the last three years, she has been developing methods of collecting and annotating symptomatic artistic practices that recognise their anxiety as a prerequisite state for criticality. One of those is a card-reading publication “7 anxieties and the world” that she performed during the 2019, among some: at FairShare: self-publishing as an artistic practice (CIAP Hasselt), during the “victories over the suns” in Brussels and for “The Hub – Between the iliac crest & the pubic bone” (GMK Zagreb). The research in these forms of “otherwise exhibiting” was supported by a.pass (a platform for artistic research, based in Brussels) and the Royal Academy of Fine Arts Antwerp and it has been published this year in an online publication ArchivingArtisticAnxieties.me.