Dejan Kaludjerović


25 October 2017 to 30 September 2018
Dejan Kaludjerović (born in Belgrade, former Yugoslavia) makes drawings, paintings, installations and research-based projects. This installation ‚Conversations´ is one such project, culminating as a kind of overview of multi-year research and production. Between the years 2013 and 2017, Kaludjerović interviewed children (6-10 years old) with a set of simple but provocative questions.

About the exhibition

About the exhibition

Each set of interviews took place in the context of artist residencies that the artist held in Russia, Azerbaijan, Israel, Iran and his “home countries” of Austria and Serbia. These interviews were recorded then fused into recordings presented in exhibitions in each context, as sound installations. These interviews have been edited together in this exhibition, bringing all the material together as an overall analysis. Each prop that the artist made for each original context (sandbox, marbles, cubes etc) is also re-made and re-presented in this exhibition, presented together in an unsettling playground that stages some sort of invisible performance.

Within a stream of often naïve responses in these recordings appear from time to time curious absurdities, humorous outbursts, frightful musings, and absolute profundities as emited by these children. The entire work takes on the format of an unusual sociological research, apparently with no direct or pragmatic results.

Adjacent to the installations is an Information Lounge, where conversations that the artist has encouraged further elaborate on the content and reception of the overall project.

Dejan Kaludjerović lives and works in Vienna.

Daily (except Monday)
10 am to 6 pm
10 am to 9 pm

Weltmuseum Wien

Neue Hofburg, Heldenplatz
1010 Vienna, Austria

Exhibition brochure (pdf, 302 KB)
The viewer is left to himself / herself to make conclusions, however the artist is certainly concerned with the origins of ideological, philosophical and political thinking as they manifest within various communities and cultures. This work presents these concerns within an apparent framework of childhood innocence, uneasily re-orienting familiar symbols and dialogue into a grander mirror of collective thinking.



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