Ana Bujošević

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	<title>Ana Bujošević</title>
	<link>https://anabujosevic.cargo.site</link>
	<description>Ana Bujošević</description>
	<pubDate>Mon, 12 May 2025 09:20:00 +0000</pubDate>
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	<item>
		<title>Curation</title>
				
		<link>https://anabujosevic.cargo.site/Curation</link>

		<pubDate>Wed, 16 Aug 2023 13:33:00 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

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	Curation
↓

Past Exhibitions
Or Boueux&#38;nbsp;(read more)Group Show Floréal Belleville • 2025
A Cruel Epilogue (read more)
Group Show Volonté93 • 2025

pro cut white lite (read more)Rosalie Becher (solo show)
Cité des arts Paris&#38;nbsp;• 2024

90 seconds to midnight (read more)
(invit. par Atelier Non-étoile)
Tour Orion (FR) • 2024

 Tombola for Ukraine 
(co-cu w/ Elina Poliakova)

Espace Ephemere / Concorde (FR) • 2022 


COME OVER&#38;nbsp;
(co-cu w/ Elina Poliakova)
Rue Fontaine au Roi (FR) • 2021 


Cyprus Queer Perspectives&#38;nbsp; 
Centre of Visual Arts (CY) • 2020 


Borders 
Point Centre for Contemporary Art (CY) • 2019 


erosionEXPANSION 
Galerie Ephemere (FR) • 2019 


Xarkis Residency Outcomes 
Point Centre for Contemporary Art (CY) • 2018 


Eden 
Meres Cultural Space (CY) • 2017 


Xarkis Residency Outcomes 
Point Centre for Contemporary Art (CY) • 2017
 
↓


Statement:

As a curator, I am deeply fascinated by the intricate interplay of sexuality, fluidity, and identity within the realm of art. My practice is anchored in the exploration of these themes, drawing inspiration from both historical and philosophical discourses while engaging with contemporary art subjects.

I believe that by delving into the rich tapestry of human experience, we uncover narratives that transcend time and space. By weaving together threads of cultural and historical inquiry, I aim to construct a universe that embraces the complexities of political, cultural, and heritage topics.

Through my curatorial endeavors, I seek to challenge conventional notions of sexuality and identity, inviting viewers to contemplate the fluidity of these constructs and their profound impact on our understanding of self and society. By juxtaposing historical references with contemporary art practices, I aim to foster dialogue and introspection, encouraging viewers to interrogate their preconceptions and explore the nuances of human existence.↓
keep going down 

↓


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Floréal Belleville, 2025
Photos by Dora Frey
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LaVolonté93, 2025
Photos by Hadrien Zwape Moret &#38;amp; Dora Frey


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Tour Orion, 2024
Photos by Hadrien Zwape Moret&#38;nbsp;

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Espace Ephemere Concorde, 2022
Photos by Roya Heydari&#38;nbsp;


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Rue Fontaine au Roi, 2021
Photos by Elina Poliakova &#38;amp; Ana&#38;nbsp;Bujošević 

</description>
		
	</item>
		
		
	<item>
		<title>90 seconds to midnight</title>
				
		<link>https://anabujosevic.cargo.site/90-seconds-to-midnight</link>

		<pubDate>Wed, 31 Jul 2024 07:31:48 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

		<guid isPermaLink="true">https://anabujosevic.cargo.site/90-seconds-to-midnight</guid>

		<description>
	Curation
↓
Past Exhibitions
90 seconds to midnight
(invit. par Atelier Non-étoile)
Tour Orion (FR) • 2024↓

Participating Artists:&#38;nbsp;
Irene AbelloAlessandra AllioliRenaud ArtabanYoann Bac Raphaël BastideRosalie BecherOlivier BémerCorrentin DarreJuliette DelecourElisa FlorimondDora FreyL. Camus GovoroffClément Justin HaninNicolas Lallemand 
Sacha Lefevre&#38;nbsp;
Mathias Leonard&#38;nbsp;
Baptiste Leroux&#38;nbsp;
Antoine Liebaert &#38;nbsp;Luca Nuel &#38;nbsp;
Marine Prunier &#38;nbsp;Harold Roger &#38;nbsp;
Lili Signorini&#38;nbsp;
ST4 &#38;nbsp;
Joséphine Topolanski&#38;nbsp;
Hugo Vessiller-Fonfreide&#38;nbsp; Hadrien Zwape Moret

&#60;img width="9449" height="14173" width_o="9449" height_o="14173" data-src="https://freight.cargo.site/t/original/i/22183ef78af3afaf18b98f605a7122ebf6c63659f5fb99090aaeaf849ed9d453/90SECS-TO-MIDNIGHT_POSTER_EKRENGEL-600_V2-1.png" data-mid="233075832" border="0"  src="https://freight.cargo.site/w/1000/i/22183ef78af3afaf18b98f605a7122ebf6c63659f5fb99090aaeaf849ed9d453/90SECS-TO-MIDNIGHT_POSTER_EKRENGEL-600_V2-1.png" /&#62;
Poster design by:
Emilie Krengel


	90 seconds to midnight 
Ana Bujošević


This is the way the world ends. 
Not with a bang but a whimper.*


Founded in 1945 by Albert Einstein and University of Chicago scientists who helped develop the first atomic weapons in the Manhattan Project, the Bulletin of the Atomic Scientists created the Doomsday Clock two years later, using the imagery of apocalypse (midnight) and the contemporary idiom of nuclear explosion (countdown to zero) to convey threats to humanity and the planet. The Doomsday Clock is set every year by the Bulletin’s Science and Security Board in consultation with its Board of Sponsors, which includes 10 Nobel laureates. The Clock has become a universally recognized indicator of the world’s vulnerability to global catastrophe caused by manmade technologies.

A time of unprecedented danger: It is 90 seconds to midnight

This year, the Science and Security Board of the Bulletin of the Atomic Scientists moves the hands of the Doomsday Clock forward. The Clock now stands at 90 seconds to midnight—the closest to global catastrophe it has ever been. Nuclear weapons, climate change, biological events, and the misuse of other disruptive technologies, and a general notion of self-destruction is upon us, and instigated the dramatic time jump in 2023. 


Introduction
We call upon an artistic re-envisioning of what the world around us will look like at doomsday. With 90 seconds to spare, what does a post-apocalyptic existence look like? Apocalypse from Ancient Greek is a close translation to revelation, hence what will the end of the world reveal to the audience? Whether these visions may be of cosmological or pessimistic nature, much like religion and thoughts of an afterlife, are open to interpretation. 

Exhibition Concept

"90 seconds to midnight" invites artists from diverse backgrounds to explore the theme of the end of the world. This project seeks to delve into the myriad emotions, concepts, and perspectives surrounding the idea of apocalypse. It challenges artists to envision what remains when the familiar crumbles, what revelations arise from chaos, and what beauty or more importantly humor can be found amidst destruction. 

*
T.S. Eliot; ‘The Hollow Men’


Bare concrete of the Tour Orion; illuminating windows allowing daylight to seep through and over the artworks; and even a leak trail - the perfect setting. Upon entering the vast space, we first come across light seeping through a triptych of photographs on sheer fabric. These black-and-white images by Dora Frey encapsulate memories, helping her imagine a world after, or one in the throes of, catastrophe. Reflected in a puddle, devoid of human figures, the images present a portrait of emptiness. Nearby are the remains of broken ceramics left behind, and beside them hangs a portal. This metallic composition, created by Antoine Lieabert, once served as the entrance to a post-apocalyptic temple dedicated to contemporary beliefs in technology, reflecting on a modern definition of "pittoresque" in the actual French countryside. The artwork mocks our faith and infatuation with the digital world, offering a mythical glimpse into a future world.

On the other side of the triptych is another entrance, paradoxically a roof. Representing a home, yet adorned with "feisty teeth," it symbolizes protection but lacks conviction. As artist Rosalie Becher explains, “Under it: to rest, to observe what will be forgotten and mimic life, finding self and meeting it. Elongation, deconstruction, fragmentation and shedding something that has seen it all. Around: Erosion like traces in a candy stuck to the roof of a mouth. Seeing a familiar shell passing by. The tender whirlwind of disturbed radio waves that brush up against the shelter. Engraving its wishes onto the glass roof. That’s the flood and the tide coming in. Which gives us perhaps: hope for the husks of seeds that grow in sand like a grain in the heap of truth.” Rosalie’s roof, followed by the gates, provides a place of rest and solitude, yet remains transparent, forbidding the viewer to hide while embracing the unknown.

Seen through the light-cascading windows, we encounter two engravings on glass, based on Juliana Spahr's poem "The Connection of Everyone with Lungs" (2005). The poem visualizes and explores the notion that all living beings are connected through the air we inhale and exhale. This delicate text, illuminated by sunlight, contrasts with the enduring nature of glass, which decomposes over 5,000 years, perfectly marking our short-lived existence. L. Camus-Govoroff’s piece, fragile yet enduring, immortalizes fleeting emotions in a crystalline embrace. Moreover, with this surge of hopefulness, we are led through a landscape crafted from natural wood, presenting an expansive panorama that invites viewers to breathe in a sense of longing for a post-apocalyptic dawn. Hadrien Zwape Moret's work, rendered in vibrant, luminous color, paints a picture of optimism, illustrating scenes of a life yet to come. His artistry captures the delicate balance between desolation and rebirth, offering a vision of the future that is both contemplative and inspiring.

As we follow the path of this optimistic future, we are faced with a flying “Reaper.” Embellished in a colorful jousting motif, soaring through the concrete space, the piece is born out of fascination with the strange shapes of stealth and aerospace designs by Mathias Léonard. Suspended in a moment of silence, the hybridization and encounter of temporalities set far apart in history create an alternate timeline where myths of yesterday populate the present. Hovering beside it is a black hole, an electroacoustic experiment playing with the viewers and the input of vibration and feedback. Visually, this “undesirable looping phenomenon” is crafted out of steel, creating an almost black geographical landscape with certain zones amplifying the looping feedback sounds. The work of Baptiste Leroux speaks volumes of cataclysm, combining technology with nature, the tension of the piece midair beating to the same clock ticking away through a quiet hum.

Past the suspended pieces, we come across a series of artifacts. Like debris, we see the remains of a leg, balanced upon raw stone, on a mirrored base. This sculptural piece by Elisa Florimond mirrors the archaeological residue of past civilizations, almost as a premonition, warning us of what is to come. The base is embellished with a tiny bas-relief of the complete leg, like a small trinket and reminder of its own terminated existence. Paired alongside it are bas-relief pieces by Harold Roger. An aluminum triptych presenting the Genesis scripts, inspired by 'directed panspermia'—the hypothesis that Earth may have been deliberately seeded by another (unknown) civilization, initiating the development of life. The light bouncing off the artworks guides our vision to a water source in the background. A 3D-printed fountain, created as a mobile mechanism that detects, extracts, purifies, and stores water, brings a sense of purity amidst the darkness of the apocalypse. Standing between the two artworks is the smallest piece with an immortal impact: encased in a small glass pill are the tears of artist Juliette Delcour. The artwork, entitled "You Stay in Wonderland," is part of a series that offers viewers the chance to imagine choosing between the blue pill, which sustains an illusionary, decaying world, and the red pill, which reveals the grim truths of scarcity. These rare moments of decision, although infrequent, are intensely amplified, stirring negative emotions and physical discomfort encapsulated in a clear, tear-filled and tender pill. This experience heightens our dread of an unavoidable end to our world.

At the far end of the space, a scene unravels. Mounted on an in-situ wall, illuminated by the emptiness of corporate office neon light, is a triptych depicting a nightmarish event. On the backside of the wall, we see the “behind the scenes” of the nightmare. These opposing artworks play push and pull between the intensity of a hallucination and the mundane images surrounding Yoann Bac. Constructed as a stage in wood and concrete, the paintings are actors in this apocalyptic spectacle. Continuing through the space, we encounter an intriguing lilac ingress, meticulously carved with a concrete texture and standing tall like a pair of totemic diptychs. These sculptural pieces, crafted by ST4, serve as a majestic gateway, their surfaces reflecting violet light in a mesmerizing dance. The interplay of light and material creates an ethereal atmosphere, inviting viewers to step into a realm where art and architecture converge in a harmonious blend of form and color. Standing firm, the piece paradoxically symbolizes strength while appearing soft and elegant.

Passing through the diptych, we are transported to an esoteric scene masterfully created by Alessandra Allioli. The backdrop is a reflected fabric, softly illuminated by the flickering glimmer of candles, casting a warm and mysterious glow. This setting frames an explorative encasement, beckoning the viewer to delve into the enigma of the "Bridge." Allioli's work weaves a narrative of intrigue and contemplation, guiding us through a journey that blends the mystical with the tangible, inviting a deep exploration of the unknown.

Set against the wall is a captivating piece by Corentin Darré. This artwork explores a dynamic scene featuring a trio of figures, seemingly suspended mid-air as they reshuffle a cloth, imbuing the composition with an almost sacred aura. Darre's smooth contemporary style evokes the symbolism of the Holy Trinity, bridging the gap between the pre-apocalyptic and post-apocalyptic worlds. The piece delicately balances modernity with reverence, inviting viewers to reflect on themes of transformation and continuity amidst the cyclical nature of existence. Moving past this space, we arrive at an installation by Sacha Lefevre, entitled “Le Monde est un jardin, tenons-nous par la main.” The piece evokes a feeling of escape, as organisms made of glazed ceramic crawl against the surface, fleeing from a screen-printed self-portrait in search of protection or a more successful attempt at shelter.

Facing the other end of the room, a bright light cascades through fluorescent neon, crawling out of the walls like a malignant fiend. Constructed in steel and lacquered wood, and housed in seeping electricity, this installation by Hugo Vessiller-Fonfreide is a monstrous oddity, paradoxically shedding light while preserving a painting in the distance which reads, “as long as nobody worries, there will be no apocalypse.” This light bleeds throughout the space, passing through the gentle flames of a grand textile installation by Irene Abello. Depicting a fire, a silent moment of destruction, the piece guides viewers through and around it, encouraging thoughts of new beginnings arising from the ashes. Encased on each side are paintings: on one end, a series of panels by Lili Signorini captures moments of uncertainty, passion, apprehension, and anxiety, indirectly depicting the subconscious realization of what will come. On the other side of the fire, a triptych by Luca Nuel differentiates in size and composition, showcasing an internal struggle of the central portrait. The figure, consumed by worry, is flanked by The Juggler and The Devil—two powerful influences over humanity. In his 1949 poem "The Juggler," Richard Wilbur captures the magic of the juggler as a metaphor for life, with themes of change and passion. The juggler has the power to end it all, while the devil symbolizes our own destruction.

In contrast, Joséphine Topolanski presents a divinatory portal expanding beyond this realm. Pinned against coarse steel are screen grabs of infamous whistleblowers exposing the existence of UFOs, like Doctor George King and David Grusch. The otherworldly body evokes the enigmatic presence of extraterrestrial life, blending with the mystery of the cosmos. Gleaming against the neon light, it stands as a testament to humanity's fascination with the unknown and the possibility of life beyond our planet. Nearby we have Olivier Bémer's artwork that delves into a haunting exploration of the apocalypse's emptiness and sorrow through a unique lens. Using a computer code that gathers undesirable words, Bémer creates haikus printed at intervals. This process mirrors the relentless repetition and bleakness characteristic of a post-apocalyptic world. Each haiku, meticulously formed from collected fragments, echoes the desolation and cyclical nature of existence, inviting reflection on the profound emptiness left in the wake of catastrophe.

As we approach the triptych, the sounds of an installation piece by Nicolas Lallemand are heard in the distance. A mismatch of musical harmony resembling a prophetic post-human melody plays as a backdrop to a treadmill, adorned to reflect plastic natural materials. The sad constant movement of the piece has an air of futuristic futility, enticing viewers to imagine the hopelessness of what is yet to come. In a living room-like setting in front of the piece, a digital drawing pad features a still life, suggesting that domesticating fake nature might be our only solution. Past the turn, we reach a collection of pieces by Renaud Artaban. His painterly pieces hold feelings of nostalgia, depicting scenes from childhood distorted through rough brushstrokes, paired with children’s toys. A hidden tiny plastic horse and a ghoulish swing set adorn the space, emitting a certain level of discomfort.

The night paired with performances set the magic in motion. In a dark isolated space, Marine Prunier offered a form of seance, showcasing an installation questioning how society deals with death, violence, and mourning in a mechanical or ritualized way. As she poetically puts it, “a funeral ritual is essentially a matter of gestures and words placed around it, anchored in a logic of management, channeling of affects, and reduction of emotions. We could also say the threat posed by this management of life and death. But we are far away.”

Following, Raphaël&#38;nbsp; Bastide live-coded a performance piece, giving energy to the space in a digitized manner. Using a self-coded program called Éte, which combines musical and visual algorithmic compositions and treats keystrokes as percussive events, the sound piece provides an essence of a dehumanized and artificial future. The night closed with a glimmer of hope through the last dance by Clément Justin Hannin. The artist invites us to celebrate the remaining moments of humanity with joy and benevolence. Like a festive gathering or a harmonious dance, this event embodies unity, communion, and community. This multifaceted encounter focuses on listening, understanding, and coming together, aiming to reconcile those willing to join in a "general rave," journeying both nowhere and everywhere at once.

90 seconds to midnight presented a profound journey of reflection, emotion, and hope, encapsulating the essence of humanity's resilience and creativity in the face of uncertainty.

 
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	<item>
		<title>Or Boueux</title>
				
		<link>https://anabujosevic.cargo.site/Or-Boueux</link>

		<pubDate>Mon, 12 May 2025 09:20:00 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

		<guid isPermaLink="true">https://anabujosevic.cargo.site/Or-Boueux</guid>

		<description>
	Curation
↓
Past Exhibitions
Or Boueux

Floréal Belleville (FR) • 2025↓

Participating Artists:&#38;nbsp;Renaud Artaban
Alex Ayivi


Rosalie Becher

Lucile Gracile

Nicolas Lallemand

Sacha Lefevre

Luca Nuel

Tibo Vincent Ducimetiere
Bruna Vettori 


&#60;img width="2091" height="3099" width_o="2091" height_o="3099" data-src="https://freight.cargo.site/t/original/i/86edb0b2fa286fc0058ef14846b18f922ca9c83ae0f845444d3f27f880805f8e/or_2025.png" data-mid="240433492" border="0"  src="https://freight.cargo.site/w/1000/i/86edb0b2fa286fc0058ef14846b18f922ca9c83ae0f845444d3f27f880805f8e/or_2025.png" /&#62;


	Or Boueux

Ana Bujošević


“You gave me your mud, I turned it into gold.”

— Charles Baudelaire

Or Boueux takes its title from Baudelaire’s alchemical vision—the transmutation of mud into gold, of decay into radiance. Here, darkness becomes fertile, beauty seeps through the cracks of ruin, and what appears broken glimmers with strange vitality. The exhibition gathers works that dwell within this tension, revealing the sacred in the sordid, the poetic in the grotesque. The space itself unfolds as a living tableau—a chamber of transformation where tenderness, humour, and horror coexist.

As you enter, Lucile Gracile’s sculpture rises from the floor like an ancient vessel reborn, an object of ceremony that channels both innocence and spirituality. Behind it, Renaud Artaban’s long term relationships were only cool when divorce wasn’t spreads in black and pink hues—a haunting, seductive vision of two faces (or perhaps flowers) melting into one another. The work evokes the strange romance of decay, where beauty persists even as form collapses.

Next, Rosalie Becher’s The Sweetest Summer Tooth turns psychological repetition into sculpture. Her delicate grids and open structures recall vents, boxes, and boundaries that refuse closure—metaphors for familial cycles, learned behaviours, and the quiet struggle to break free. In dialogue, Luca Nuel’s watercolours dissolve faces into liquid colour, echoing the myth of Orpheus and the eternal song of loss. The sharpness of Becher’s forms mirrors the fluidity of Nuel’s pigments—two languages of vulnerability, one structural, one emotional.

On the far wall, Nicolas Lallemand’s paintings introduce a surreal, weightless ecology—creatures and skeletons emerging from landscapes that oscillate between collapse and cartoonish absurdity. His hybrid environments reflect ecological anxiety through humour and distortion, a vision suspended between denial and apocalypse. Alongside, Sacha Lefevre’s ceramic installation Maman a tort roots trauma in matter: pierced and spiked trinkets morphing into adolescent bodies. The poem that accompanies the work recalls rebellion, shame, and the ambivalence of home—ceramics that fuse fragility with defiance.

Around the space, Alex Ayivi’s wooden sculptures—small coffins and emblems—stand as playful, poetic totems. Painted with irony and tenderness, they proclaim a soft revolution: death to capitalism. Their presence, scattered like offerings, turns mourning into satire and decay into resistance.

Finally, Tibo Vincent Ducimetiere’s triptych burns with psychic intensity: a past lover, a man aflame mid-air, a rebirth through fire. His figures shimmer between agony and transfiguration, their skins alive with both horror and grace. Beside them, Bruna Vettori’s floating textile Et j’adore aussi tes défauts hovers ghostlike in the dim light—a spectral confession suspended in air.

Together, these works form a chorus of transformation. Within the dark, performative atmosphere of Floreal Belleville, Or Boueux unfolds like a ritual of becoming—mud turned to gold, death into softness, the abyss glowing faintly back at us.

&#38;nbsp;


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	<item>
		<title>pro cut white lite </title>
				
		<link>https://anabujosevic.cargo.site/pro-cut-white-lite</link>

		<pubDate>Mon, 16 Sep 2024 07:49:26 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

		<guid isPermaLink="true">https://anabujosevic.cargo.site/pro-cut-white-lite</guid>

		<description>
	Curation
↓
Past Exhibitionspro cut white lite
Solo Show - Rosalie Becher&#38;nbsp;
Cité Internationale des Arts (FR) • 2024


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	pro cut white lite 

“Shiver and quiver, little tree,
Silver and gold throw down over me.”
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; -&#38;nbsp; &#38;nbsp; Jacob Grimm


Pro cut white lite, takes place at the studio of Rosalie Becher, acting as a carefully crafted stage, where the interplay of light and shadow brings the world of paradox and reflection to life. In this intimate setting, where the artist lives and creates, the works are preserved within the walls that house both her art and her thoughts.

The exhibition features a series of pencil drawings on paper, each one a close-up glimpse into the dreamlike embellishments of fairy tales that inspire the artist’s work. Though abstract, these drawings feel like zoomed-in details from a larger narrative, capturing moments where the symbolic and the psychological merge. They invite viewers to consider the hidden aspects of our own stories, those small, often overlooked details that, when magnified, reveal deeper truths.

Rosalie Becher’s work delves into the unseen and the mystical, exploring the psychological depths of human experience. Her art blurs the boundaries between reality and imagination, creating spaces where the familiar is made strange, and the ordinary becomes a gateway to deeper, often unsettling truths. Her drawings evoke a dreamlike quality, where close-ups of imagined details hint at a world beneath the surface, inviting viewers to engage with the fluid nature of identity and the ever-evolving relationship between self and space. In her work, forms shift and change, reflecting a constant state of metamorphosis and transformation.

A centerpiece of the exhibition is a glass sculpture that resembles a fountain, a creation that melds the ancient craft of stained glass with the mystique of natural elements. This piece also incorporates elements of sacred geometry, where precise mathematical patterns and forms reflect the harmony of the universe. In this work, Rosalie’s fascinations find a powerful expression. The glass, enameled and shaped by the elemental forces of fire and water, stands as a testament to the alchemical process of creation. It is as if the sculpture itself is alive, perpetually in a state of transformation, echoing the elements that shape our natural world, both preserving and eroding in equal measure. 

Rosalie’s work is a paradox—fragile yet fierce, opaque yet translucent, inviting viewers to rest in a space where ambiguity reigns. This exhibition is more than a display of art; it is a journey through the doors of perception, where each knock reveals a new layer of meaning, a new reflection of the self in relation to the space it occupies.

In this stage, lit by the glow of creative alchemy, the boundaries between the real and the imagined blur, and we are left to ponder the delicate balance between preservation and transformation, the meeting of body and void, light and opacity.


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		<title>a cruel epilogue</title>
				
		<link>https://anabujosevic.cargo.site/a-cruel-epilogue</link>

		<pubDate>Thu, 13 Mar 2025 09:13:19 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

		<guid isPermaLink="true">https://anabujosevic.cargo.site/a-cruel-epilogue</guid>

		<description>
	Curation
↓
UpcomingA Cruel Epilogue (read more)
Group Show Volonté93 • 2025

Alessandra Allioli&#38;nbsp;
Rosalie Becher
Roméo Dini
Dora Frey
L. Camus Govoroff
Nicolas Lallemand
Mahaut Rey
Hadrien Zwape Moret&#38;nbsp;


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	A Cruel Epilogue


These violent delights have violent ends

And in their triumph die, like fire and powder,

Which as they kiss consume: the sweetest honey

Is loathsome in his own deliciousness.


A Cruel Epilogue at Volonté 93 delves into the concept of perpetual longing—our endless reach for something that may never have been attainable in the first place. This is about yearning for a golden period of innocence, purity, or joy that feels forever just out of reach. The exhibition captures the tension between innocence and the inevitable realization that life, like time, is indifferent to our desires, leaving us in a cruel cycle of craving what we cannot have.


Summer serves as a metaphor here. It represents not only a season of warmth and freedom but also a state of being—one associated with youth, carefreeness, and a kind of untarnished joy. Yet, as we grow, the summer we long for becomes more abstract, a fleeting idea that slips through our fingers. This exhibition is a reflection on this endless pursuit—whether it be for happiness, fulfillment, or the recapturing of an idealized moment from our past. It asks what happens when we recognize that we’ve been chasing illusions, shadows of experiences that can never return.


This idea echoes Friedrich Nietzsche’s notion of eternal recurrence—the idea that we are doomed to repeat the same desires, the same patterns, over and over. In this context, we find ourselves trapped in a cycle of reaching for something that is always just out of our grasp. Summer, in this sense, is not just a memory or a season; it is the symbolic embodiment of a longing that defines the human condition. We seek warmth and light, but by the time we recognize what we long for, the moment has passed, and we are left only with the echo of our desire.


The cruelty lies in this perpetual cycle of wanting, in our very nature that drives us to constantly pursue the unattainable. Byung-Chul Han’s reflections on the burnout society align with this idea, suggesting that in our contemporary world, we are conditioned to constantly desire more, to never be satisfied. The pursuit of success, happiness, or contentment becomes an endless task, much like the chase for an eternal summer. We are left not only unfulfilled but also exhausted by the sheer weight of this longing.


At the heart of this exhibition is a meditation on innocence—the summer we once had, or think we had, before we were fully aware of the complexity of the world around us. As children, the summers seemed endless, filled with possibility and light. But as we grow older, we come to realize the finite nature of time, and the once-welcoming warmth of summer turns into a harsh reminder of what we’ve lost.


In this way, A Cruel Epilogue also invokes Roland Barthes’ notion of “the grain of the voice”, that texture of something both familiar and unreachable. The warmth and light we seek, much like Barthes’ elusive grain, become fragmented memories—something we can almost touch, but not quite. Our desire to return to that warmth becomes a cruel game of proximity and distance. The closer we think we are to recapturing it, the further away it feels.


In the works presented, the artists explore these ideas of endless yearning and unattainable desire. The haze of memory, the ambiguity of what once was, and the persistent ache for something more are all central to the visual and conceptual language of the exhibition. Through various mediums, the artists reflect on the idea of innocence, the cruel passage of time, and the human tendency to romanticize the past, despite its imperfections.


A Cruel Epilogue is ultimately a philosophical exploration of longing—the universal human condition of reaching for that which eludes us. In this capitalist society, where desires are commodified and we are conditioned to always want more, the exhibition highlights the tension between our innate longing and the indifferent passage of time. We chase summer, but we are left in winter, where the cold clarity of reality settles in. The cruelty is not just in the loss, but in the endlessness of the pursuit.


Ana Bujošević

for Volonté 93


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	<item>
		<title>Artist Residency Coordination </title>
				
		<link>https://anabujosevic.cargo.site/Artist-Residency-Coordination</link>

		<pubDate>Wed, 16 Aug 2023 13:33:00 +0000</pubDate>

		<dc:creator>Ana Bujošević</dc:creator>

		<guid isPermaLink="true">https://anabujosevic.cargo.site/Artist-Residency-Coordination</guid>

		<description>
	Artist Residency Coordination

Xarkis NGO &#38;amp; Music Festival&#38;nbsp;Xarkis is a non-governmental organization which explores aspects of local evolving culture, alongside folk and intangible cultural heritage. Through the organization, we explore and test social design approaches in the context of design-led social innovation.Served as a Coordinator of the annual Artist Residency as well as a board member of the organization. Through this role I aided the artists in the realization of their projects, provided direction and support, and worked on the curation of the final outcomes during the festival, as well a post festival exhibition. 
The residency has in total hosted over 200 artists, their work ranging from permance art, photography, painting, dance, and many other multimedia approaches explored in relation to the culture of Cyprus.

	
2018 - 2020

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Xarkis Festival assumes its shape through the Xarkis Multi-Residency program (est. 2016) that precedes it. Just like the Festival, the Residency is characterised by a nomadic structure. Here, artists in residence come together with the team in a communal setting and are connected with local and former residents of the selected area. A key aspect of the residency involves immersing ourselves in a hyper-local setting. Here, artists collaborate on practice-based enquiries informed by our theme, to generate site-specific projects in ways that make use of skills, desires and resources of the persons involved and the unique characteristics of the regions we temporarily inhabit.

We have implemented seven nomadic Xarkis Multi-Residency editions in the villages of Lofou, Koilani, Polystipos, Lympia and Agros, (2016-2022) and four related group exhibitions at Point Centre for Contemporary Art (2015-2019).

Photo credits: Emma Louise Charalambous

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