Born 1981, Novi Sad, former Yugoslavia. 1984 relocated to Slovenia. Lives and works in Berlin.
GAM - Galleria d'Arte Moderna di Milano, Milan (forthcoming)
Untitled (In My Feelings), MOCA Cleveland, Cleveland
Kalbträgerin, Bundeskunsthalle, Bonn
Votives, Henry Moore Institute, Leeds
Fellbach Triennale 2019, Fellbach, Germany
Time, Forward!, V-A-C Foundation, Venice
The Art Happens Here: Net Art's Archival Poetics, New Museum, New York
Robot Love, Campina Milk Factory, Eindhoven
Art in the age of the internet, 1989 to today, ICA, Boston
Biomorphic Virtuosity, Jessica Silverman Gallery, San Francisco
Difference Engine (curated by Cory Arcangel and Tina Kukielski), Lisson Gallery, New York
I Was Raised on the Internet, Museum of Contemporary Art, Chicago
57th October Salon, Belgrade Biennial, Serbia
Nothing Will Be As Before, Tanya Leighton, Berlin
Artificial Tears, MAK Museum für angewandte Kunst, Vienna
I Scream, You Scream, We All Scream For Ice Cream, Fondazione Baruchello, Rome
Hybrid Layers, ZKM Center for Art and Media, Karlsruhe
AIDS, nach einer wahren Begebenheit / SIDA. Inspiré de faits réels, Musée international de la Croix-Rouge et du Croissant-Rouge, Geneva
Cult!, Zeppelin Museum Friedrichshafen, Friedrichshafen
tech x space, Galerija Škuc, Ljubljana
Things to Come
Domanović looks at the history and development of technology through a gender-conscious lens. Her work specifically focuses on the point at which machine meets, interfaces and touches the human user.
In her first institutional solo exhibition in Scotland, at the Gallery of Modern Art, Glasgow in 2014, Domanović focuses on the marginalised representation of women within popular science fiction film. Using the building’s position and architectural features, Domanović has re-contextualised the gallery by installing large sculptural prints on transparent foil. Films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013) form the source material for prints of objects that interact, or form an important part of the female characters’ narrative. These films deviate from the conventional representation of women in cinema: as mother, love interest or victim.
The material used is similar to the celluloid sheets historically used by animation houses to draw and layer cartoon animations. Domanović discovered that the mechanical filling in of the cartoon outlines was women’s work; the actual art-working was
reserved only for men. This repetitive activity echoes the work undertaken in the exhibition’s building 135 years ago when the Gallery of Modern Art, Glasgow was a telephone exchange staffed entirely by women, who were referred to as ‘computers’. Domanović’s exhibition is a multi-referential exploration of the role of women in technology, both past, present and in the fictive future.
Presented alongside Domanović’s exhibition ‘Things to Come’ is a collection of DVDs collated by the artist and Dr Leonie Cooper. It is the product of their discussion and research about science fiction and its significance today.