2022 (video installation, HD, 7 min. ,wood panels) A view from an airplane, drone, or the position of the Sun is a privileged point of view. Approaching this position is a sign of progress and technological development, an attempt to overcome the force of gravity. The modernist idea of progress has been distorted in the previous century into a perverse economy of growth, extraction, and war that hide the sun

2022 (video installation, HD, 3×18 min. ,wood panels) Sites of Encounter is composed of three short films exploring the intersection between spatial memory and architecture within games. The narrative follows an intimate dialogue between a group of characters as they navigate contemporary labour conditions, using spatial structures to activate an archive of memories.  The structure of the work in many ways resembles a theater piece. There are three acts divided

2022 (HD video, 18:00 min; unity game engine) The Factories is a third part of the Sites of Encounter trilogy, exploring the intersection between spatial memory and architecture within games. The narrative follows an intimate dialogue between a group of characters as they navigate contemporary labour conditions, using spatial structures to activate an archive of memories. The internal voices, either in a dialogue or in the form of parallel monologues

2021 (HD video, 18:00 min; unity game engine) The Bridges is a second part of the Sites of Encounter trilogy, the ongoing body of work that explores relations of contemporary labour conditions, gaming, and the human-built environments.  The main plot builds upon a series of events happening during the bridge construction on the external border of the European Union.  On Balkan Peninsula Bridges have a peculiar history. Because the whole

2020 (HD video, 18:00 min; unity game engine) The Offices (2020) is a short film exploring mnemonic architecture and spatial avatars within games. The narrative follows a dialogue between two unseen characters around the gamified map of labour conditions. While they navigate an antagonistic environment, the pair is prompted to uncover interconnected sites of memory and loss. Created within unity engine software, the digital ecosystem can be viewed as a

2019 (single-channel video installation, 11:47 min; Scripted role-playing game for 8 characters; 90 min gameplay) People may undertake social confessions for many reasons. A confession can be committed to expose a certain truth or a secret, to express love, to relieve feelings of sincere guilt, regret or remorse and to seek forgiveness and understanding from the others. At root, confessions and various other forms of exposure are simply a subset

2018 (multi-channel video installation, 14:54 min; costume on metal frame, duct tape, textile, variable dimensions.) In recent years the ideas of gamification have been increasingly implemented into various non-game contexts. The tools of gamification are now often used in order to erase boundaries between play and labour. It is a business model that forms the system of extended control and manipulation through the gamified forms of work and entertainment. In

2017 (Scripted role-playing game for 16 characters; 90 min gameplay) The plot for this LARP has a starting point in the famous adaptation of a greek tragedy Medea that marxist poet and a film director Pier Paolo Pasolini made in 1969. Working on this foundations by further implementing the ideas of disaster communism the main focus is on the reappropriation of corporate tools. The story revolves around a plastic waste

2017 (multi-channel video installation, 8:56 min; 16 objects of variable dimensions, duct tape, textile) In her recent book Updating to Remain the Same- Habitual New Media, Wendy Hui Kyong Chun closely inspects transition of media, from the new to the habitual. What happens when our bodies become archives of supposedly obsolescent media, streaming, updating, sharing, saving? Following this idea, the project Whales takes another perspective on the topic of the

2016 ( Multi-video instalation -duration variable; duckt tape, drawing on wall, painting mounted on metal frame) Prosthetic animals depicts common aspects of precarious life by portraying ordinary people engaged in activities of everyday self-destruction. How do you put traps on yourself? How do you perform S_A_B_O_T_A_G_E? The project has a starting point in the research on the alternative ways in which a community can be generated using tools similar to