Deyan Clement

DEYAN CLEMENT
b. 1989, Belgrade, Serbia

EDUCATION
2015 – BFA, Academy of Fine Arts, Belgrade, 2013 – Academy of Fine Arts, Trebinje, 2008 – High School of Art, Uzice, 2007 – School of Drama, Uzice

SOLO EXHIBITIONS
2016 – “The artist is dead”, Cultural Center GRAD, Belgrade, 2011 – “Japan”, Gallery of Modern Art, Lazarevac (Belgrade), 2008 – “Body language”, manifestation ISKON, Pozega

SELECTED EXHIBITION
2016 – “DIFFERENT WORLDS”, Photon gallery & Kino Siska, Ljubljana/Slovenia – “DIGITALBIGSCREEN”, Delavski dom, Trbovlje, Slovenia – “RETHink Art Digital Festival”, Act&Art Productions, Rethymno, Greece – “OFF THE WALL I video art“, Arts + Literature Laboratory, Madison, USA – “Methodologies, deconstruction of identity” Cultural Center GRAD, Belgrade
2015 – “sTERORtipi”, Queer salon, Cultural Center GRAD, Belgrade
2014 – “stART”, Gallery “Svetozar Markovic”, Belgrade – “Mulafoco”, Museum of Contemporary Photography, Uruguay
2013 – “Mediterranea 16 – Errors Allowed”, Progres Gallery – Belgrade
2012 – “Art Fusion Project“ – Gallery of Yugoslav Cinematheque, Belgrade
2011 – “Those who coming“ – City Gallery, Uzice – “Š.U.N.D.“ International Festival of Student Work – ArtCentar, Belgrade

AWARDS
2014 – Best photographer of the year, Mulafoco, Uruguay
2012 – Best student of the Academy of Fine Arts, University of East Sarajevo
2012 – Best student of the Painting Department, Academy of Fine Arts of Trebinje

Work/video
YOU ARE FREE, BUT…, 2015, 03:14

work description

YOU ARE FREE, BUT… is first time presented in 2015 as part of the exhibition during the Belgrade Pride Week. A group of art historians named ‘Impost’ chose this work to show it as a central work at the exhibition dealing with stereotypes about the LGBTQ+ community in Serbia. In the review about the work they said: ‘Through synthesized messages this video material leads to better, more relevant meanings, which in return lead to determination of LGBTQ+ population. In order to reach individual and collective awareness, this work creates a certain theoretical and didactic interaction between the distorted standards of the local community and defined and correct attitude… It is the passive – aggressive social class who presents itself as tolerant, while concurrently rejecting a consistent integration of the LGBTQ+ population into society. The video work is performative illustration, a somewhat masochistic way of pulling a sock on top of another, which makes the author hard to breathe, just like the passive – aggressive statements are compelling LGBTQ+ persons to breathe with difficulty in real life. Clement penetrates into specific knowledge of social psychology applied to solve practical problems of a modern society, such as reducing prejudice and prevention of violence.’

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