Milica Tomić
Milica Tomić, Vienna, 18 March 2024
“What is ‘home’? This is the biggest question.”
“General Alert. Wars that Have Never Ended”: it was as part of this KONTAKT Collection exhibition in 2022 that the artist Milica Tomić set up shop at the Viktor-Adler-Markt’s stand no. 129. And in a conversation held two years later at this same spot, Tomić continues questioning those infinite loops of traumatic experience that so severely shook her trust in an outside world where values or change might play a role . For Tomić, who took Belgrade and former Yugoslavia as the starting point from which to commence her radical exploration of entanglements between the political and the private during the 1990s, the associated crisis-scenario has since come to encompass the entire world. With what might one confront this world where critical publics continue to dissolve and communication has now “become virtually impossible?” And what projective surfaces for our fears and hopes do we need today, even as Milica Tomić goes so far as to question whether “small interventions” by way of art still contribute to any change at all?
“What is ‘home’? This is the biggest question.”
“General Alert. Wars that Have Never Ended”: it was as part of this KONTAKT Collection exhibition in 2022 that the artist Milica Tomić set up shop at the Viktor-Adler-Markt’s stand no. 129. And in a conversation held two years later at this same spot, Tomić continues questioning those infinite loops of traumatic experience that so severely shook her trust in an outside world where values or change might play a role . For Tomić, who took Belgrade and former Yugoslavia as the starting point from which to commence her radical exploration of entanglements between the political and the private during the 1990s, the associated crisis-scenario has since come to encompass the entire world. With what might one confront this world where critical publics continue to dissolve and communication has now “become virtually impossible?” And what projective surfaces for our fears and hopes do we need today, even as Milica Tomić goes so far as to question whether “small interventions” by way of art still contribute to any change at all?