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Jadranka Kosorcic did her Master degree in fine arts at Chelsea College of Art and Design, London in 1998. She lives in Munich but does work site specific.
Her work was featured at ICA Philadelphia, curated by Anthony Elms; at MSU Rijeka, curated by Slaven Tolj; Jack Hanley Gallery, New York ; Bloomberg space, London, curated by Sacha Craddock; Extended Media Gallery, Zagreb; Artothek, Munich; collection Essl, Klosterneuburg; White Columns, curated by Matthew Higgs, New York; Museum of New Art, Detroit; townhall gallery Munich; CCA Andratx/ Mallorca; General Public, Berlin, curated by Raimar Stange; Kunstraum Munich/ Cell studios, London; Hdlu, Zagreb; MSU Zagreb; Haus der Kunst, Munich and many others.
To learn more about Jadranka’s work, see these links; Sketchy Blind Date, Face Off, and Blind Date Half a Portrait.
Blind Date
In my longterm project, „Blind date“, identity is captured in two different ways. The person being portrayed creates her or his own identity in a 2-3 hour studio sitting, constructing a semblance of her or his personality that is recorded and archived on a audiotape. Meanwhile, I capture the image of the sitter on paper, translating the features into a series of simple, sparse lines. By means of advertisements, flyers, or direct contact, I ask people to come to my studio on a blind date. During the drawing process I try to reveal the “Between” of two persons visually, without emphasizing either the condition of the portrayed person or my own character. Only the very slight instant of my being/meeting the one/other of the model should be noticeable.
“Nor me nor you, says Bataille, but something else happens between us: something drifting from one person to another when we laugh or make love. Something fading in the very moment of its occurrence. Something inhuman, beyond the field of understanding. Life doesn’t exist in language, how stupid!” (Shaviro, Kathy Acker, S.121, in Doom Patrols)
The portraits of various people become in this way the portrait of a city itself. Following the example of August Sander, I try to get in touch with the highest diversity of citizens as possible to get the most authentic portrait of all the people in the city. The drawings are presented in groups together with the edited recordings of the conversations.
“On first sight: nothing but drawings. But a closer look at the art of Jadranka Kosorcic reveals clearly the very conceptional essence of her works. In her art the drawings are portraits at the very end of a process, reflecting the actual relations and the forming of identity. Her portraits are situated consciously somewhere between the clean, faceless surface of a Wanted photo and the sensible, amateur drawing of a loved face. It’s exactly the broad spectre, containing the possibility of a collapse, which shows the instability of globalized post-modernity: its incorporation in a surface or a thread, in a normative or intimate-intensive way. Jadranka Kosorcic’s pared-down portraits seek a clear connection and an unblocked, uncompromised view of another human being.“ (Raimar Stange)
[…] der Landeshauptstadt München/Hotel Mariandlradio Yale, an interview by Brainard Carey 2016: museumofnonvisibleart.com/interviews/jadranka-kosorcicTV Istra. 2016 “Povijest u stvaranju: setnja Humon” 
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