Bojan Sarcevic, Only After Dark
Bojan Sarcevic first gained international recognition at the second Manifesta 1998 in Luxemburg when he sealed windows, doors, and other openings with paper and pieces of fabric in a former exhibition space of a natural history museum. This interest in space and its social, cultural, and psychological connotations, already apparent here, is still today of fundamental importance for Sarcevic, who was born in Belgrade in 1974. His media range from interventions in found situations, installations, and autonomous sculpture to videos and discursive activities. Thus, at the Berlin Biennial 2004, he presented workers' favorite clothes. Speculation about their former wearers' preferences, tastes, and social position, and the peculiar discrepancy between their museal presentation and their signs of wear, emerged in their reception. The situation was similar with his contribution to the exhibition "Formalism—Modern Art, today" at the Kunstverein in Hamburg, for which Sarcevic laid tw o massive granite working surfaces on black metal frames. Here, too, grooves, scratches, and notches produced by stonemasons in the course of their work contrasted with the presentation of the objects. These "tables" were combined with a work consisting of thin strips of paper draped about the room and measuring out the spatial volume like the lines of a drawing.
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