Katarina Zdjelar (Belgrade, 1979) is an artist based in Rotterdam. Her practice consists of making video, sound and text pieces, performances, book projects and creating different platforms for speculation, knowledge building and exchange. Her work explores notions of identity, authority and community and revolve around individuals who challenged by simultaneous inhabitation of different languages, perform themselves through practicing, remembering or reinventing themselves.

We need to have civil conscious and basta, video piece, 2010

In her video piece We need to have civil conscious and basta, Katarina Zdjelar focuses on a group of concerned citizens in Naples who are gathered around joined idea of making a political turn.  We follow a crucial meeting, in which they are deciding if they are to become a political party or not.  Rather than evolving around participants standpoint, concrete proposals, agreements and disagreements, the piece looks at the moment of transition, in which a citizen-enthusiast  becomes a politician.

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Shoum, video piece, 7′, 2009

Whereas singing in the video piece “Everyhting Is Gonna Be” is a communal affair, in Zdjelar’s most recent video “Shoum”, singing is an individual act of, as she put it, “translating one’s experience of listening into uttering”. This video focuses on an “infantile” practice of learning without understanding. A middle age person (a subtlety of Zdjelar’s approach is in her ability to hide the identity of her protagonist but simultaneously to show his age by revealing occasionally fragments of his face) from Belgrade is filmed in the process of decoding the lyrics of the 1980s hit song “Shout” by the British new wave/new romantic pop band Tears for Fears.¹ He does not speak any English, so he transfers what he hears into his own “vocabulary”, based on his capacity to vocally interpret and reproduce what is heard. In order to grasp and memorize the lyrics, he writes down what he comprehends as English language. Errors and deformations of the lyrics create an amusing “new language” so instead of “shout, shout, let it aloud, these are the things I can do without …” he puts down “šaum, šaum, lejdi o lav, pizat t pizat dju ju raund…”² and continues in such manner until the whole song is transcribed. At the end, he sings his version of the lyrics according to what he put on paper.

(excerpt from Branislav Dimitrijević’s text “Some Consequences of Sounds”. Please refer to CATALOGUE & TEXT page for this or other texts on this and other works).

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In Unison, video piece, 5′28”, 2009

The video piece “In Unison”, is a silent video which focuses on a production of voice as a social event. A singing woman is constantly hovering between other voices of two singers next to her looking for a confirmation.

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The Perfect Sound, video piece, 14′30”, 2009

The video piece “The Perfect Sound” follows the relatively recent phenomenon of ‘accent removal’ treatment during which a speech therapist aims to extract the ‘foreignness’ within the speech of his client-his foreign accent. Paradoxically, the speech therapist who conducts the treatment is from Birmingham, the city whose inhabitants are experienced as ridicule within the UK for their particular accent. In country in which an accent awareness is so present and relates to class system a question arises: What position does a foreigner’s voice occupy in this discussion? Does it contribute to, or stay outside, the class system?  The video piece looks at production of neutrality; obtaining the (voice) mask, which would allows to a misfit to shift between different modes of appearances and allow him or her to blend in the environment-become unnoticeable. As Mladen Dolar notes: “it inevitably brings to mind the tribulations of Eliza Doolittle and the haughtiness of Professor Higgins, transposed into an aseptic environment of a rarefied abstract space, with the colourful Covent Garden flower girl now replaced by a host of nameless immigrants.”

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Everything is Gonna Be, video piece, 3:35′, 2008

“Everything Is Gonna be” is a video of an amateur choir from Lofoten Islands in Norway singing the Beatles’ song Revolution (1968). As often in her practice, Zdjelar is here interested in the process of becoming in all its physically manifest uncertainties – in the attempts to perfect one’s performance as well as in the production of a collective out of singular voices. With a focus largely on the intimate presence of the individuals, the work is charged with an ambiguous sense of hesitation – a reserve that may suggest inability to let go and express oneself, or unwillingness to be either individual in all its imperfections or to merge into the communal voice and feeling. The singers-speakers give a sense of distance and coldness towards the song they sing, and even though they perform it, what they bring with it seems more ominous than hopeful.

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Taking Place, video piece, 7′16”,2008

The video piece “Taking Place” follows the weekly routine of a group of people in Rotterdam that meets up, a few times a week, after their day jobs in a local community space in Rotterdam. Contrary to Jean Rouch’s  Hauka’s who enter trance and are possessed by various spirits related with the Western colonial powers, during these gatherings the Rotterdammers seem to become possessed by the spirits of their neighbours, non-native citizens of various backgrounds. In doing so, they adopt their neighbours’ physical appearance as they engage in a self-initiated and self-developed ritual. This filmed event was not staged by the artist.

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Don’t Do It Wrong, video piece, 10′30”, 2007

The video piece “Don’t Do It Wrong” suggests how social rituals build and promote the sense of belonging and creation of “we-ness”. It is filmed in a primary school in Istanbul and traces this daily morning ritual in which the director of the school and teachers choreograph entire event. To hold a flag is a special task, but it is too heavy for a boy and a girl has a panic attack. But, once in their positions, pupils sing the Turkish National Anthem, recite an oath by which they pledge to Ataturk, promising to keep his legacy alive, to love their country more even then themselves.  This work investigates how the process of bonding and binding to one collective body occurs. It focuses on the way the power is imposed and exercised. It makes visible the mechanism and invested effort of implementing the sense of national cohesion. This ritual occurs every day for five years in all Turkish primary schools and in the army since the 1920’s. The video piece “Don’t Do It Wrong” is made by Katarina Zdjelar during her residency period at Platform Garanti, Centre for Contemporary Art, Istanbul, Turkey.

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One or Two Songs, On Someone or Something, In Particular, video piece, 4′46”, 2007

For this piece Zdjelar films a person who just moved alone to another country, got an electrical guitar and started getting familiar with it. The piece celebrates the very possibility and desire of getting to know something over mastering any particular skill. This work highlights the way our bodies can de totally involved in occupying an unfamiliar territory and how ones insecurity but also persistence in doing something (which one doesn’t really know how to do but still does it) proposes and produces alternative modes of being.

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A Girl, the Sun and an Airplane Airplane, video piece, 9′50”, 2007

In the video piece “ A Girl, The Sun and an Airplane Airplane” various people of the same generation in Tirana, Albania are asked to utter words or sentences in Russian, the language that was once studied and was an embodiment of hope, love and loyalty during Enver Hoxha regime. This piece focuses on ones failed attempts of speaking which are followed by the achievements in the production of noise and silence in an attempt to communicate with Zdjelar who shares the same background-studying the Russian language and facing the fall of the Yugoslavian socialist regime. Potent space opens up within the timeline of pause and silence and the space of cavity between uttering words and a word itself, in finding a way to the next word, sentence. Which is exactly the space which brings understanding and kind of intimacy between the artist and filmed people. Now, as the country is going through the process of re-identification and re-writing of its own history, forgetting the Russian language and the ideology it carries with it is highly stimulated, alongside with removing material signifiers from the public domain as a leftover of the ideology of that time. However, it is the missing objects or silence and noise which binds fragmented pieces into narratives and produces relations.

This video piece is filmed in a studio of media center in the Enver Hoxha Pyramid  during Zdjelar’s residency at TICA.

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When the opposites meet there is always a chance…, video piece , 7′32”, 2007

“….. When opposites meet there is always a chance, a chance for the unexpected, a gap for chaos, leading to new creations. As you are able to create your daily working life both, you are both able to create, than you must be able to catch and use fence or a brain wave and use it. And my wish for you is that you use the same in your personal life. For each meeting asks for a completeness, to come to an all including meeting. That is my wish for you… “

“When the opposites meet there is always a chance…” is a video registration of the ceremony of registered partnership (matrimony) taking place in the Netherlands between an EU citizen and a non-EU citizen. While the legal register of the ceremony makes unnecessary and opinioned comments on the partners’ different cultural backgrounds, producing unclear meanings in broken English, the nature and validity of such a marriage becomes questionable. Finally, the partnership is being sealed.

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There Is No Is, video piece, 1′50”, 2006

The video piece, “There Is No Is”, brings out the physicality of language made manifests through the vocalization of two words – the artist’s name. That physical appearance of language is marked by the body’s inability to perform the task of the accurate pronunciation of these two words. We can see and hear an Asian women laboring to utter a single name- Katarina Zdjelar. In her numerous attempts, she writes down on her hand what she hears but still, can not pronounce it, she listens to the artist and tries to repeat but does not succeed. Language brakes down, being stripped to the very sound. Faced with the difficulties in pronunciation, by loosing and liberating the tension of bodily incompetence, body as language apparatus, challenges the very idea of (culturally shaped) anatomy.

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Would that be alright with you if I bring my cat along?, video piece, 6′20”, 2006

The video piece “Would that be alrigh with you if I bring my cat along” follows an integration classes in the Netherlands. We can see and hear a group of adults immigrants in the process of obtaining new language/culture.

Untitled as Ms. Laker, 2006, 1′30″ looped

The audio piece Untitled as Ms. Laker comprises sound material recorded at the integration classes for foreigners in Rotterdam. The method of recording what the students might say is one of the various educational ways employed for learning the Dutch language. This saying is actually instructed repeating of what the students hear from his/hers partner in dialogue that is a prerecorded machine voice. This piece deals with the performative contradiction of speech that is produced by and applied on a speaking body. But also with the processes and unstable nature of identification. A woman (student) utters sentences by which she learns how to introduce herself in the real (Dutch speaking) world, but we never hear her saying her name. Instead, a range of different male and female names are lined up. We hear her saying: Hi, my name is Peter de Boer. I am Anke de Graaf. My name is Mr. Kaalsbeek. I am…

Round trip. Exercices de style, 2005

The sound piece “Round trip. Exercices de style” is a collection of reoccurring and collective dreams of immigrants, based on conducted interviews in 2004/5 . Regardless of their different origin and background, they all share the very same dream/nightmare. Within the dreams, the return to a home country or host country is impossible. A chain of inhibitions and inexplicable events follow the dreamers’ physical actions and the dreamers hover and stay at non-place, such as airport, train station…

Voice by Evelien van den Broek.

Waiting for the political moment project-a project concieved by Frans-Willem Korsten, Bram Ieven and Katarina Zdjelar. Upcoming June 2010.

Over the past decades, several political and cultural theorists have argued that the domain of politics, and even the very idea of the political, has been hollowed out. Scholars from rather diverse fields, like Chantal Mouffe, Claus Offe, Jacques Rancière, Saskia Sassen, Ellen Meiksins Wood and John Bellamy Foster to name a few, have argued that politics appears to have lost its proper status or has been submerged in the more powerful and encompassing infrastructures of late capitalism. Such an emptying out of the political domain is in itself not an altogether new phenomenon in the history of the West. A historical parallel can be drawn with the way in which the political domain was vacated by the Roman Catholic Church from the early Middle Ages onwards. Machiavelli, for one, like Marsilius of Padua before him, struggled with this emptying out of the domain of politics. The least we can say is that, due to its obstinate recurrence, the issue is worth studying from a diachronic perspective, paying attention to the way it develops through history. It may also be rewarding to consider the hollowing out of the political as a structural problem inherently belonging to politics itself, or to study how scholars in different times have addressed it, and possibly to interconnect their analyses and solutions. We propose to do that in relation to a key concept in this matter: the political moment – the moment of the political and the moment in the political.

More information here

A Deserters’ Heartland, performance by Katarina Zdjelar and Jan Verwoert as a part of Lecture Performance exhibition, curated by Jelena Vesić,  Radmila Joksimović, Kathrin Jentjens, and Anja Nathan-Dorn, CZKD, Belgrade, 2010.

Parapoetics-sreening program in conjuction with the solo exhibition Parapoetics, curated by Anke Bangma and Katarina Zdjelar, upcoming January 28, 2010.

This screening programme investigates the political in language, and the ways in which language shapes individual and collective experience. The selected works touch on the impact of assimilative language policies – where an official language is imposed to foster ‘national unity’. But they also show instances where adopting or rejecting a language or a mode of speaking form strategies of self-empowerment or resistance. Language here appears as a weapon and as a shield, with the ability to protect or liberate and to wound. The programme will present films by Marina Abramovic, Maria Bustnes, Phil Collins (still from his video above), Dani Gal en Jacqueline Goss, and is curated by Katarina Zdjelar and Anke Bangma in conjunction with Zdjelar’s solo exhibition Parapoetics, curated by Mariette Dölle at TENT., Rotterdam.

Instead of a performance, contribution to TIME BOOK, TIME festival 2009, Gent, Belgium. Instead of a performace is a discussion organized by the Centre for Cultural Decontamination in Belgrade in 1996 on the occasion of protest against Milosevic’s vote rigging.  The contribution is an adapted version of original transcript of discussion previeously published in its integral form by the Centre for Cultural Decontamination in Belgrade. Text is adapted by Katarina Zdjelar. Translation from Serbian into English by Novica Petrovic.For text click here.

Resonant Bodies, Voices, Memories-sreening program in conjuction with the book project Resonant Bodies, Voices, Memories, curated by Anke Bangma, Deirdre M. Donoghue, Lina Issa,  Katarina Zdjelar, 2009.

It has become common to understand memory, voice and even bodily knowledge and sensations as something we not simply have, but something we do. But when the ability to remember, feel or speak gets disrupted, even this sense that we are engaged in doing – in interacting with and acting in the world – becomes a question. What happens to our sense of self and our relation to others when we try to relate to places where we are not, to a voice that does not seem to be our own, or to a body that we don’t seem to be in control of? With films and audio works by Samuel Beckett, Lina Issa and Fanni Futterknecht, Alvin Lucier, Anri Sala, Imogen Stidworthy, Katarina Zdjelar, and Artur Zmijewksi, amongst others.

Wolkom yn it Heitelan a project organized by Elke Uitentuis and Wouter Osterholt at Fries Museum, Buro Leeuwarden, 2007.
For the project “Wolkom yn it Heitelan”, Zdjelar has organized a tailor-made language classes for illegal immigrants living in the Friesland. Each participant would get his personal tutor and work with him for a period of time on specific challenge that each participant had, ranging from writing, reading, speaking, pronunciation, translation…. In general, tutors would be native Dutch or Fries speakers, but during the project, immigrants with better command of the language would act as tutors to their fellows that had basic or very poor command of it. The project functioned as an alternative language school but also as a platform for exchange.

India Song, performance by Katarina Zdjelar as a part of If I Cant Dance I Don’t Want to be part of your Revolution (2007)

Performance India Song is based on an adaptation of Marguerite Duras’s text India Song – a story that takes place in colonized  India of the 1930s and follows the impossible love between the wife of the French ambassador and vice-consul in Lahore. The performers translate the text as a novel text, theatre text and as a film script. The viewer can be carried away with the intensely passionate story of Anne-Marie Stretter, or be guided by the unexpected stage directions by Marguarite Duras, which are included in the text as a part of the script. Performance takes the form of a public reading in which performers are revealed only through their accented voices which put an accent on displacement inherent in the story and allow the viewer to imagine places, people and actions, rather than seeing them on the stage. Text adapted and performance directed by Katarina Zdjelar. Performed by Özlem Altin, Maja Bekan, Ruth Leg, Lina Issa and Katarina Zdjelar at CASCO and Huis A/d Werf in Utrecht as a part of If I Can’t Dance, I Dont Want To Be Part Of Your Revolution, a rolling curatorial platform developed by Annie Fletcher and Frederique Bergholtz. Özlem Altin has produced a publication India Song for this performance.

Being here two, video screening at TENT., Rotterdam, November 2006

Being Here Two is a video screening curated by Katarina Zdjelar, with works by G.W.Pabst, Anri Sala, Hito Steyerl, and Imogen Stidworthy.
The film and video screenig focused on works which look at different aspects of translation, such as in a para-documentary Alex by Imogen Stidworthy which is based on the treatment of a patient with a psychosomatic voice disorder( shown as a video projection); challenges bent around performing sounds in a post-colonial cultural setting are explored  in Lakkat by Anri Sala (shown as a video projecion, played one after another in British English version and American English version); economy of language and translation in The Threepenny Opera by G.W.Pabst (simultaneously playing in French and German versions on two monitors); and translation of text into video lecture in The Articulation of Protest by Hito Steyerl (a video lecture made in 2006 using the text from the essey published in 2002).

Round trip. Excercices de style, text piece, 2005. This project is a collection of reoccurring and collective dreams of immigrants, based on conducted interviews in 2004/5 . Regardless of their different origin and background, they all share the very same dream/nightmare. Within the dreams, the return to a home country or host country is impossible. A chain of inhibitions and inexplicable events follow the dreamers’ physical actions and the memory reference of a locality they come from is censored within their de-territorialized  subjectivity. In a dream, the dreamers hover and stay at non-place, such as airport, train station… Text piece is here

Workin’ Progress. Open call for a closed meeting, discussion piece 2005~2007

Workin’ Progress. Open call for a closed meeting is a series of semi-public discussions. With this project Zdjelar is interested in incidental or potential transfer and exchange of knowledge that occurs within a group of individuals who come together around a shared subject of interest.  The starting point for the joint discussions is a text “Universality in culture’ by Judith Butler, which is sent to the participants who sign up for one of the discussions in advance. The invitations for participation are sent through the mailing list of an institution in which the discussion takes place. Whoever signs up can activly participate; there is no additional audience.
Workin’ Progress. Open call for a closed meeting took place in Serbia, Belgrade, at the Museum of Contemporary Art, Salon, with: Stevan Vukovic, Jelena Vesic, Vlatko Ilic, Vladimir Jeftic, Svebor Midzic and Katarina Zdjelar; in the Netherlands, Rotteram, at the Het Wilde Weten with: Liesbeth Bik, Milica Tomic, Eva Fotiagi, Bram Ieven, Stani Michiels, Robert Suermondt, Tamuna Chabasvili, Adi Hollander and Katarina Zdjelar; in Turkey, Istanbul at Platform Garanti Centre for Contemporary Art, with: Elmas Deniz, Selda Asal, Mohr Ulrike, Minna Rainio, Elif Ozgen, Leyla Gediz, Selim Birsel and Katarina Zdjelar.

This project is part of series of different platforms for speculation developed in the same period, including Pink Duck, a reading group organized by Renee Ridgway, Thomas Michelon, Bart van der Heide, Siebe Tetero, Simon Ferdinando, and Katarina Zdjelar on different locations in Rotterdam and Amsterdam.

Education
2004-2006 Piet Zwart Institute, Willem de Kooning Academie, MA Fine Art, Rotterdam, the Netherlands;
1999-2004 University of Arts Belgrade, Faculty of Applied Arts, Serbia.
2001-2002 CENPI, Centre for Contemporary Theatre and Performance Art, Art Theory, Belgrade, Serbia.

Residencies
2010 Rijksakademie van beeldende kunsten/Dutch Ministry of Education, Culture and Science, Amsterdam, NL;
2008 VIVID, Birmingham, UK;
2007 ISCP, International Studio and Curatorial Program, New York, USA;
2007 Platform Garanti Centre for Contemporary Art, Istanbul, Turkey;
2007 TICA, Tirana Institute for Contemporary Art, Tirana, Albania.

Grants/ Awards/ Nominations
2009 The 50th October Salon Award, Belgrade, RS;
2009 FONDS BKVB, Project grant, NL;
2008 FONDS BKVB, Startstipendium, NL;
2008 DKC, Research Grant, Rotterdam, NL;
2007 Nomination for De Volkskrant Beeldende Kunst Prijs 2007, Amsterdam, NL;
2007 Nomination for the B.M.W. Award 2007, CBK Zuid Oost, Amsterdam, NL;
2007 Winner of Dimitrije Banisevic Mangelos Award, Belgrade, Serbia;
2006 Winner of Promotieprijs Award 2006, for the advancement of practice, Rotterdam, the Netherlands;
2005 Nuffic, The Netherlands State Secretary for Education, Culture and Science, the Netherlands;
2005 Fond for Young Talents, Serbian Ministry of Education, Ser;
2005 Felix Meritis Foundation, Mitra scholarship, the Netherlands Ministry of Education, Culture & Science, the Netherlands;
2004 Winner of the Aleksandar Tomasevic Award, University of Arts Belgrade, Serbia;

Work in collection
MACBA, Museum of Contemporary Art Barcelona, Barcelona, Spain;
Jean-Conrad and Isabelle Lemaître, and other private collections.

Lectures/ Presentations/ Symposiums/ Seminars
2010 Lecture at Rietveld Academy, Amsterdam, Netherlands;
2009 Lecture at the KABK, Den Haag, Netherlands;
2009 Public presentation and talk-Mladen Dolar and Katarina Zdjelar, Moderna galerija, Ljubljana, Slovenia;
2009 Lecture as a part of APENT FORUM, Art Academy Oslo, Norway;
2009 Voice day, Jan van Eyck Academie, initiated by Myriam Van Imschoot, Maastricht, NL;
2009 MONTE VERITA 2, seminar, Gerrit Rietveld Academie, Amsterdam, NL;
2008 Public lecture at PAN Museum, as a part of Il Ventre di Napoli project, curated by Patricia Pulles, Naples, Italy;
2008 Public lecture as a part of MONTE VERITA 1 program, Gerrit Rietveld Academie, Amsterdam, NL;
2008 VIVID, Birmingham, UK (presentation);
2008 Hungarian University of Fine Arts, Budapest, HU (presentation and workshop with students);
2007 ISCP, International Studio and Curatorial Program, presentation,New York, USA;
2007 If I can’t dance…, symposium with Mounira Al Solh, De Balie, Amsterdam, Nl;
2007 You can’t judge a book by its cover, symposium with Marina Grzinic, Jan Verwoert, and Frans-Willem Korsten, CASCO, Utrecht, Nl;
2007 Finnish Museum of Photography, Helsinki, Finland;
2007 Kontekst Gallery,Belgrade, Serbia;
2007 HGKZ, Zurich Art School, Zurich, Switzerland;
2007 Academy of Arts Tirana, Albania;
2007 Platform Garanti Centre for Contemporary Art, Istanbul, Tr;
2006 Z of Art, Cultural Centre Rex, Belgrade, Serbia;
2006 Piet Zwart Intitute&University of Amsterdam, Rotterdam, the Netherlands;
2006 Rietveld Academy, Amsterdam, the Netherlands;
2005 PSWAR, Amsterdam, the Netherlands.

Solo exhibitions
2010 Katarina Zdjelar-Shoum, Galería Valle Ortí, video room, curated by Nacho Valle, Barcelona, Spain;
2009/10 TENT., Centrum Beeldende Kunst, Katarina Zdjelar-Parapoetics, curated by Mariette Dolle,  Rotterdam, NL;
2009/10 CAV, Centro de Artes Visuais, curated by Miguel Amado, Coimbra, Portugal;
2009 The 53rd Venice Biennial, Serbian Pavilion, But if you take my voice, what will be left to me?, Venice, Italy;
2009 LOOP 09, Mirta Demare Projects, Shoum, Barcelona, Spain;
2009 SKOR, The Precarious State project, Edition #3, Amsterdam, NL
2009 Salon of Museum of Contemporary Art Belgrade, Katarina Zdjelar- Speaking through each other’s mouth, Belgrade, RS;
2008 VIVID, The Perfect Sound, Birmingham, UK;
2008 Ellen de Bruijne Projects, Katarina Zdjelar-Everything is Gonna Be, curated by Joris Lindhout, Amsterdam, NL;
2008 Anne de Villepoix Gallery, Everything is gonna be, curated by Alexandra Fau, Paris, France;
2008 LOOP 08, Mirta Demare Gallery, Barcelona, Spain;
2007 CASCO, Office for Art, Theory and Design, Another Project, with Renee Ridgway, curated by Emily Pethick, Utrecht, NL;
2007 Gallery of Contemporary Art, Bez prevoda, Pancevo, Serbia;
2006 Mirta Demare Gallery, Back to back by heart, Rotterdam, NL;
2006 Hedah, Center for Contemporary Art, Would that be alright with you if I bring my cat along, solo exhibition, curated by Suchan Kinoshita, Maastricht, NL;
2005 Museum of Contemporary Art Belgrade, Salon, Workin’Progress. Open call for a closed meeting, discussion piece, curated by Marina Martic, Ser;
2004 SKC Happy Gallery, Memo test, paintings, Belgrade, curated by Miki Pjescic. Ser;
2004 DOB Podest Gallery, Drawings, solo exhibition, Belgrade, curated by Marko Ladjusic, Ser.

Group exhibitions and screenings
2010 Art Sheffield 2010: Life-A User’s Manual, curated by Frederique Bergoltz and Annie Fletcher, Sheffield, UK;
2010 International Film Festival Breda, Breda, NL;
2010 Vital Signs, Courtisane Festival, screening curated by Stoffel Debuysere and María Palacios Cruz, Gent, Belgium;
2010 Second Scénario, la Box, curated by Céline Poulin and Gregory Castera, Bourges, France;
2010 Searching Songs,  Tokyo Metropolitan Museum of Photography, curated by Keiko Okamura, Tokyo, Japan;
2010 Try different keywords,  Galeria Estrany-de la Mota, curated by Glòria Pou, Barcelona, Spain;
2010 Let’s Talk about Nationalism! Between Ideology and Identity, Kumu Art Museum, curated by Rael Artel, Tallinn, Estonia;
2010 Lost&Found, screening program curated by Hilde de Bruijn, Theatrum Anatomicum, Amsterdam;
2010 Screening of the video piece Shoum as a part of Short films, 39th International Film Festival Rotterdam, Rotterdam;
2010 Esemplasticism: The Truth is a Compromise, group exhibition orhanized by TAG, The Hague in collaboration with CTM (Club Transmediale), Berlin;
2010 Almost there, group exhibition curated by Minna Rainio, Katherine E. Nash Gallery, Regis Center of Art, Minneapolis, USA;
2010 Lecture Performance, curated by Jelena Vesic, Kathrin Jentjens, Radmila Joksimovic, Anja Nathan-Dorn, CZKD, Belgrade;
2010  Indefinite Destinations, curated by Vessela Nozharova and Öykü Özsoy, DEPO, Istanbul, Turkey;
2009/10 Morality. Act II: From Love to Legal, curated by Juan Gaitan and Nicolaus Schafhausen, Witte de With Centre for Contemporary Art, Rotterdam, NL;
2009 Сучаснае галандскае мастацтва,video screening curated by Magdalena Ziolkowska at YGallery, Minsk;
2009 Never Dance Alone, curated by Pascale Pronnier, Le Fresnoy, F;
2009 Galerija Nova Skola, Posao, Obitelj, curated by WHW, Zagreb, Croatia;
2009 Werkleitz Gesellschaft e.v ,.move,., Halle, DE;
2009 The 50th October Salon Circumstance, , curated by Branislava Andjelkovic, Belgrade, RS
2009 HISK, After All, Everything Is Different In The End, curated by Jens Maier-Rothe, Gent, Belgium;
2009 29th Graphic biennial, curated by Alenka Gregorič, Skuc Gallery, Ljubljana, Slovenia;
2009 Henie Onstad Art Centre,To be Heard is to be Seen, curated by Tone Hansen, Høvikodden, Norway;
2009 Jan van Eyck Academie, Voice weekend, initiated by Myriam Van Imschoot, Maastricht, NL;
2009 MACBA, The Uncertainty Principle / How fast does an idea travel?, curated by Chus Martinez and WHW, Barcelona, Spain;
2009 SUPERNOVA, Non Museum, video screening as a part of Museum Night event, Riga, Latvia;
2009 Etablissement d’en Face, Resonant Voices Bodies Memories, video screening curated by Anke Bangma, Lina Issa, Deirdre Donoghue, Katarina Zdjelar, Brussels;
2009 De Appel,Keep it to yourself, curated by Ann Demeester, video screening as a part of book launch of F.R David, Amsterdam;
2009 Foundation 3,14, Soft Manipulation or Who is afraid of the new now?, curated by Zoran Eric, Enrico Lunghi, Maria Lind,  Bergen;
2009 Le Fresnoy, VIDEOS EUROPA, curated by Pascale Pronnier,  Studio national des arts contemporains, Lille, France;
2009 Artprojx Space, Farewell Lemaitre, screening,  London, UK;
2009 ARCO 09, Expanded Box, curated by Carolina Grau, Madrid, Spain;
2009 Tallinn Art Hall, Happy together. Critical reflections on collective identities, curated by Minna L.Henriksson and Mika Hannula.
2009 Piet Zwart Institute, Resonant Voices Bodies Memories, video screening curated by Anke Bangma, Lina Issa, Deirdre Donoghue, Katarina Zdjelar, Rotterdam, NL;
2008/9 Casino Luxembourg, Soft Manipulation or Who is afraid of the new now?, curated by Zoran Eric, Enrico Lunghi, Maria Lind, Luxembourg;
2008 Rawabet Theater, Between a Rock and a Hard Place, video screening curated by WHW, Kairo, Egypt;
2008 Human Rights Film Festival, The Right To Stay For All, Vienna, Austria;
2008 Norsk Kulturråd, video screening curated by Maria Bustnes, Oslo, NO;
2008 Art Forum, LOOP at Art Forum, curated by Sabrina Van der Ley, Berlin;
2008 Art Laboratory Berlin, Subjective Events, Sometimes Recorded, curated by Elena Sorokina, Germany;
2008 Academy of Fine Arts Vienna, The Right To Stay For All, Austria;
2008 Privremena zenska Mjesna Zajednica ELEKTRA, Dobre, hrabre, slavne, video screening organized by Sanja Ivekovi , Zagreb, Croatia;
2008 49th October Salon, Artist-Citizen. Contextual Art Practices, curated by Bojana Pejic, Belgrade, Ser;
2008 TINA B., The Prague Contemporary Art Festival ,FORMS OF ENGAGEMENT, curated by Blanca de la Torre, Prague, Czech Republic;
2008 SPAPORT Annual International Exhibition, It is raining outside but I don’t believe that it is, curated by Ana Nikitovic, Banja Luka, Bosnia and Herzegovina;
2008 Galerie Cortex Athetico, Le musee des recontres, curated by Alexandra Fau, Bordeaux, France;
2008 Halle fuer Kunst, Some things never change, screening curated by Alenka Gregoric, Lueneburg, DE;
2008 Magacin, YVAA, Belgrade, Serbia;
2008 LIAF 08, Towards a Future Present, curated by Taru Elfving and Rickard Borgstrom, Lofoten, Norway;
2008 CAM, The Chelsea Art Museum, The Promised Land, curated by Blanca de la Torre, New York, NY, USA;
2008 Hungarian University of Fine Arts, Visibility Works, curated by Eszter Lazar, Budapest, HU;
2007 MuHKA, Museum of Contemporary Art Antwerpen, If I can’t dance I don’t want to be part of your revolution, curated by Annie Fletcher and Frederique Bergholtz, Antwerp, BE;
2007 Finnish Museum of Photography, The nature of evil, curated by Aura Seikkula, Helsinki;
2007 ABC No Rio, Coexistence, curated by Antonio Arévalo and Raúl Martínez,New York, NY, USA;
2007 PARALLAX. A View from a Different Angle, New Visual Tendencies Festival, curated by Maja Ciric, Belgrade, Serbia;
2007 CBK Zuidoost, group exhibition curated by Maaike Gouwenberg, Amsterdam, NL;
2007 Open Studio, ISCP, New York, NY;
2007 Fries Museum, Buro Leeuwarden, Wolkom in it Heitelan, curated by Wouter Osterholt en Elke Uitentuis, Leeuwarden, NL;
2007 Kontekst Gallery, Mangelos Award exhibition, Belgrade, Serbia;
2007 SAT Gallery, Audio Lab, curated by Tobias C. van Veen, Oklahoma City, Canada;
2007 52nd International Venice Biennale, video program curated by Edi Muka, Italy;
2007 SC, Centrifugal, curated by Minna L. Hendrikson, Zagreb, Croatia;
2007 Mirta Demare Gallery, Art Athina fair, Athens,Greece;
2007 TICA, Tirana Institute for Contemporary Art, Everything we want to know but didn’t dare to ask, curated by TICA curatorial team, Tirana, Abania;
2007 SMART Project Space, Tijdelijk Museum, group exhibition curated by Hilde de Bruin, Amsterdam, the Netherlands;
2007 Platform Garanti Centre for Contemporary Art, Open Studios, Istanbul;
2007 Mirta Demare Gallery, Art Rotterdam, Rotterdam, NL;
2007 Freud Museum, Paranoia, London, curated by Predrag Pajdic,UK;
2006 PSWAR, Beauty Unrealized, curated by Angela Serino, Amsterdam, the Netherlands;
2006 IAO Gallery, Upgrade!, AudioLab, Montreal, curated by Tobias van Veen, Canada;
2006 TENT., Center for Visual Art, Wherein certain persons…, Rotterdam, NL;
2006 HVCCA, Hudson Valley Center for Contemporary Art, The Peekskill Project, Peekiskill, New York, curated by Blanca de la Torre García, USA;
2006 Artstore, Rotterdam International, curated by Han Goan Lim, R’dam, NL;
2006 Focal Point Gallery, Paranoia, Southend, curated by Predrag Pajdic, UK;
2006 Leeds City Art Gallery, Paranoia, Leeds, curated by Predrag Pajdic, UK;
2005 De Appel, Centre for Contemporary Art, Radiodays, curated by CTP 05, Amsterdam, NL;
2005 Prodajna galerija Beograd, Belgrade in the Past and Present Belgrade, curated by Marko Stamenkovic, Ser;
2005 Het Wilde Weten, How to send a message, Rotterdam NL;
2005 Centre for Cultural Decontamination, Orientations out of gender, curated by Deve, Belgrade, Ser;
2005 PSWAR, Relocated identities I. Overexposure, Amsterdam, curated by Eva Fotiagi and Tamuna Chabasvili, NL;
2005 Museum of Applied Arts, Think performance, Belgrade, by TKH, Ser;
2005 Rotterdamse Schouwburg, Round trip, Rotterdam, NL;
2004 International Biennial of Young Artists, Untitled(as Yet), Vrsac, curated by Jelena Vesic, Sinisa Mitrovic and Ana Nikitovic, Ser;
2003 VII International Biennial of Miniature Art, Gornji Milanovac, Ser;
2003 X Biennial of Drawings, Studentski grad Gallery, Belgrade, Ser;2003 City Gallery, Pancevo, Ser;

Book projects
Editorial:
2010* Parapoetics Reader, published by TENT., Rotterdam;
2009 Resonant Voices Bodies Memories, co-editor with Anke Bangma, Deirdre M. Donoghue, and Lina Issa, PZI & Revolver by Vice Versa;
2007 Another Publication, co-editor with Renee Ridgway, PZI &Revolver;
Contributions:
2009 TIME BOOK, TIME Festival, Gent, Belgium;
2009 NOA, edited by Mounira Al Solh, published by Istanbul Biennial, Istanbul, Turkey;
2007 The lost moment is the lost moment is the lost moment…, image contribution to the book project by Bik van der Pol and Fatos Ustek, GfKFB – Kunstfabrik, Berlin, Germany;
2005 Black Friday, Revolver Books, Archiv für aktuelle Kunst, Frankfurt, Germany and PZI, Rotterdam, edited by Christoph Keller (contributor).

Platforms and curated screening programs
2010 Parapoetics, screening program, TENT., Rotterdam;
2009 Resonant Voices Bodies Memories, screening program co-curated with Anke Bangma, Deirdre M. Donoghue and Lina Issa, Piet Zwart Institute Rotterdam, NL and Etablissement d’en Face, Brussels, B;
2007 Guide of the reading group On voice in cinema and visual art, W139, Amsterdam, NL;
2006 TENT., Center for Visual Art, Being here two, film/video program curated by Katarina Zdjelar, Rotterdam;
2005-6 Pink Duck, co-initiator of a reading group at WDW, Centre for Contemporary Art and TENT., Centre for Visual Arts, Rotterdam, with Renee Ridgway, Thomas Michelon, Siebe Tetero, Bart van der Heide and Simon Ferdinando;
2005-7 Workin’ Progress.Open Call for a Closed Meeting, series of discussions initiated by Katarina Zdjelar at Het Wilde Weten, Rotterdam; Platform Garanti Centre for Contemporary Art, Istanbul; Museum of Contemporary Art, Belgrade.

Performances, Theatre and Radio Projects
2007 CASCO, Office for Art, Theory and Design, India Song, performance,Utrecht, NL;
2007 Huis en Festival a/d Werf, India Song, performance,Utrecht, NL;
2005 Rotterdamse Schouwburg, Thuiskomen, with and by Renate Zentschnig, Katarina Zdjelar, Gabrielle Uetz, Evelien van den Broek, Anne Karin ten Bosch, Rotterdam, NL;
2005 FIST01, Wardrobe, as drama writer and audio&video setting, directed by Vlatko Ilic, Belgrade, Ser;
2004 Serbian National Theatre, Crave, Sarah Kane, stage design, directed by Vlatko Ilic, Belgrade, Ser;
2004 RTS (Serbian National TV and Radio Station), Radio drama, Misssssssss K, writer and performer, directed by Vlatko Ilic, Belgrade,Ser;
2003 RTS (Serbian National TV and Radio Station),Radio drama , Why Kathy Acker never met Marquise de Sad, performer, directed by Bojan Djordjev, Belgrade, Ser;
2002 SKC, Belgrade, No exit, Jean Paul Sartre, acting, directed by Vlatko Ilic, Ser;
2002 Bitef Theatre, Adam and Eve, Miroslav Krleza , acting, directed by Milos Lolic, Belgrade, Ser.
2002 SKC, Happy Gallery, I am Your Mirror and You are My Database, Belgrade, Ser;

* Katarina Zdjelar by Alexander Mayhew for Tubelight, 2009-> here

* Small World Crammed on Biennale’s Grand Stage by Michael Kimmelman for NY Times-> here

*Katarina Zdjelar by Christel Vesters, Metropolis M, June Issue 2009-> here

* Say Gh, Say Ch by Rutger Pontzen for Volkskarnt, 2008-> here

* Katarina Zdjelar by Patricia Pulles for Metropolis M, 2006-> here

Other

* Glorious Fiction text (on Don’t Do It Wrong Video piece) by Frans-Willem Korsten -> here

* Katarina Zdjelar by Imogen Stidworthy-> here

Katarina Zdjelar

Email:
katarinazdjelar@gmail.com

Studio:
Sarphatistraat 470
1018 GW Amsterdam

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