Igor Bošnjak Igor Bošnjak, born 1981 in Sarajevo, Yugoslavia. Lives and work in Trebinje, Bosnia & Herzegovina. Working within the field of intermedia arts: film, video, installation & photography.
Artist Statement Viewed from a marxist, utopian kind of perspective, all people are potentially artists. My approach to how I create  my art, including video works, is utterly conceptual. I carefully select the best medium for an initial idea I wish to  materialise, or better still visualise. After selecting the medium, I contextualise the idea, collect theoretical background,  research texts, Internet sources, and only then do I move on to the production. I am also very interested to relations  between history facts & loading history,  past & future, and how reality is connected to personal and collective memory.  Relations between site specific place and layers of meaning and architecture presented there are crucial. In fact, all  places with a lot of historical layers and meaning are very suitable and inviting for some site specific interventions.  Places like these are very intriguing to me. Sometimes, concept puts me on the path to those places, but othertimes it is  those places that litteraly "call me" to be present within them. Artiistic practice which I am interested in deals among  other things with the relation of the society to its available tools and skills, highlighting the boundaries of its ability to  transform its surroundings. This could be definition of technology gleaned from the economy and material reality.  Historical references are also used in my works in order to provoke discussion not only about the media, related changes  in art, but also about the sociocultural shifts that have been taking place. Every present was once part of the future, but  nonetheless the imagining of a tomorrow that is initially just a projection is irretrievably different from the causality that  thinks in terms of temporal moments between the actual and the becoming centres on the question of why images from  the past often appear more futuristic than plausible images of an imagined future. Jacques Derrida defined the spectre as  that which both is and is not; it represents temporalities that cannot be adequately grasped by present oriented thought,  because they involve a past that has not passed as well as a future that breaks with the present. Both the past and the  future, as temporal dimensions, are thus seen in an interrelationship: without memories of the past there will be no  future.
Igor Bošnjak