info[at]kristinabenjocki[dot]com
studio : Prinseneiland 24A1, 1013LR Amsterdam
 

Kristina Benjocki (b. Zrenjanin, Yugoslavia) completed her MA at the The Royal Academy of Art in The Hague in 2011. She holds BA from the Gerrit Rietveld Academy in Amsterdam and the University of Arts in Belgrade. Her research driven practice focuses on the investigation of post socialist historical and cultural revisionism, seen as political mechanisms of forgetting and remembering. She is currently a guest researcher at the Jan van Eyck Academy in Maastricht where she looks closer to the three significant moments in history of Maastricht: development of V1 rocket base during the WW2, NATO headquarters for war operations during the Cold War and the European treaty inauguration. 

Kristina’s most recent exhibitions include: Please empty your wallets at the Museum of Modern and Contemporary Art in Rjeka, Social Contract at Izolyatsia in Kiev, Dmitrije Bašičević Mangelos Award at Remont art gallery in Belgrade, Resolution 827 at Stedelijk Museum Buro in Amsterdam, Excude/Include at Castrum Pelegrini in Amsterdam, This is the Time. This is the Record of the Time at AUB gallery in Beirut and Stedelijk Museum Buro in Amsterdam amongst others.
She obtained various grants and scholarships, most notably from the Mondrian Fonds and Huygens Program. Kristina's work is part of several private collections in the Netherlands. 

Recent portfolio, cv, press and biography on request:
info[at]kristinabenjocki[dot]com
 

"Kristina Benjocki is interested in the remnants of history. As one's perception is always disturbed by a distance – both in matter and in time – Benjocki delves into the possibility of numerous, often opposing positions within the politics and culture of remembrance. On the one hand she tries to repair memory, while on the other she also aims to leave space for forgetting. In all cases the violent past and precarious present of the former Yugoslavia inform her practice. Sometimes this takes center stage, other times it only fulfills a supporting role in the performances, video pieces, drawings, installations and photographs Benjocki creates.

Benjocki employs elements from her research in different combinations to unveil and unravel bigger histories and personal accounts. By doing so, she addresses the ideological framing of events and reveals the positions of individuals. In direct and metaphorical ways, she presents the outcomes of her in-depth research. The fragility of the findings, both in a material and factual sense, drove her to further examine the very nature of archives and the part they play in the construction of collective historical narratives. "

Vincent van Velsen,
excerpt from a nomination letter, Mart 2017 

“Kristina Benjocki wordt gedreven door een dubbelzinnig verlangen: zij duikt in de artefacten van de geschiedenis om enerzijds herinneringen te repareren, anderzijds om te vergeten. Het gewelddadige verleden en het fragiele heden van voormalige Yoegoslavië vormt een belangrijk onderwerp in haar performances, videos en fotowerken. Hoe afstand en nabijheid onze waarneming bepalen, laat zij zien in haar installatie 45KG BULLET SHELLS, die van een afstand lijkt op blinkend goud van dichtbij een hoopje kogelhuizen blijkt te zijn. De geluidsinstallatie SOUNDTRACK (STATEMENTS OF GUILT) is gebaseerd op de zogenaamde ‘Statements of Guilt’ uit het archief van het Yoegoslaviëtribunaal. Benjocki abstraheerde de schokkende getuigenissen tot een soundtrack van ritmes en zoemende tonen aan wiens trillingen je je als bezoeker fysiek niet kan onttrekken. Voor har recente werk reisde zij langs verwaarloosde (Tweede Wereld) oorlogsmonumenten in Servië; ten tijde van de wederbouw ging de voorkeur uit naar abstracte in plaats van figuratieve beelden. Niet de terugblik op herkenbare oorlogsellende
of heroïek, maar de ‘moderne’ toekomst werd benadrukt. In Benjocki’s foto verrijst het monument op de Kosmajberg in de dageraad als een vervreemdende representatie van de macht; tegelijkertijd biedt het de ruimte voor een verscheidenheid aan interpretaties. “

Mirjam Westen
Prospects and Concepts, February 2014

“I believe that the fall of the Iron Curtain and the reappearance of Eastern Europe into the global art scene resulted in a particular interest in history-as-material in art. A lot of verges on a kind of nostalgia and the historical footage that is already interesting in itself. But I don’t think I have ever seen such elaborate de and re constructing practices like those of Kristina. The work on show was really a surprise, especially in its setting: in the resounding of space and the distribution of the sculptural, the sound and the text parts. The tree parts make it all more than their sum and the abstractionist result still evokes the drama of the Bosnian war in which the Netherlands and the Hague, as political capital and the center of international justice, also played a role.”

Jelle Bouwhuis
Excerpt from the text focusing on the ‘Soundtrack (statements of guilt)’
Royal Academy of Art, July 2011

“Taking guilt confessions of convicted people at International Tribunal for former Yugoslavia as a point of departure, Kristina managed to turn them into an impressive work of art by transposing the text into a composition that could be either played on a piano, or that could be part of the installation. In doing this she managed to steer away from simply representing traumatic experiences to establishing a work of art that succeeds in making the audience connect to the guilt and trauma.”

Dr.F.W.A. Korsten Except from the text focusing on the ‘Soundtrack (statements of guilt)’ Royal Academy of Art, July 2011