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Katarina Radovic was born in Belgrade, Serbia. She studied History of Art at the University of Sussex in Brighton, UK in the 1990’s and acquired the BA Degree in Photography from the Academy of Arts ‘BK’ in Belgrade, Serbia, in 2006.
As a free-lance artist she has participated in a number of solo and collective exhibitions and festivals in Serbia, Croatia, Slovenia, Hungary, Austria, the Czech Republic, Lithuania, Spain, The Netherlands, France, Egypt, Japan, Senegal, USA, Israel, etc.
She received the Kultur Kontakt artist-in-residence grant in Vienna, Austria, in 2007; the European Cultural Foundation (ECF) grant in 2009 for the project Until Death Do Us Part; and the artist-in-residence grant in Malta by the Fondazzjoni Kreattività in 2019 for the project Palettes.
Her works are in: the Photography Collection EROSION (Lithuania), the TELENOR Collection of Contemporary Art (Serbia), the Museum of the City of Belgrade, the Museum of Arts and Crafts in Zagreb (Croatia), the Museum of African Art in Belgrade and the Imago Mundi BENETTON Collection (Italy).
She moves fluidly across photographic fields, trying to trace the link between reality and fiction, the real world and the socially and culturally originated visions of reality. Her photographic work consists of unique researches into identity, (self)-presentation, human relationships and communication, as well as cultural differences, and is often permeated with theatre and humour. She is also interested in design, publishing, translation and curatorial work.
The two major publications of her works are: Until Death Do Us Part, self-published monograph, Belgrade, 2011 and When You’ve Stopped Combing Me, I’ll Stop Hating You, Museum of African Art, Belgrade, 2016.
[…] Katarina Radovic lives and works in Belgrade, Serbia. She spoke to us from lock down as the pandemic entered a second wave in Serbia. During this time she has been focusing on her own work, including previous work that she had stepped away from when life got in the way. One quarantine project involved wrapping her camera in plastic, essentially putting it in quarantine. The project itself is called Diary of a Camera in Quarantine and allowed her to record that period as it shifted from day to day. Radovic allowed the images to develop in their own way – some coming out a bit blurred, a representation of the suffocation of not only being locked down but of the effects of COVID19 on the lungs. When she looked at the photos after the project was complete, Radovic found she could not look for very long without a feeling of suffocation. For more about this project as well as discussion of another project centered around her difficult and at times traumatizing relationship with her grandmother, listen to the complete interview. […]