Darja Bajagić

Darja Bajagić’s works use images that are laden with specters of power, threat, innocence, and violence. These are found in many channels of circulation: news stories, true crime reporting, unidentified persons databases, missing persons campaigns, murderabilia websites, gore forums, advertising materials, underground zines, and pornography. These images contain figures who are often named in the title of each work, available to be searched out. Removed from their circuits to be repeated and re-presented in proximity to multiple other cut-out images, here they appear more similar than they are different. These images come into contact with other forms and resemblances that recur in Bajagić’s works—bars, checkerboards, borders, blank space, splatters—brought together by means of seriality and repetition.
Laura Brown 

Darja Bajagić utilizes strategies for shifting contexts in order to complicate the consumption of images in her artworks—momentarily deactivating fixed judgements and leaving images open to ulterior connections. Bajagić’s artworks concede to the tensions between fascination and revulsion, pleasure and disgust, and to the redemptive quality of humour in light of the heinous. Bajagić’s works have been exhibited at the Hessel Museum of Art, Annandale-On-Hudson; Musée d’Art moderne de la Ville de Paris; Künstlerhaus, Halle für Kunst & Medien (KM–), Graz; LUMA Westbau, Zurich; Moderna Museet, Stockholm; Museum of Modern Art, Warsaw; Museum of Contemporary Art, Oaxaca. She is represented by New Galerie (Paris) and Carlos/Ishikawa (London).