The practice of Slobodan Stošić (b. 1989) is contextresponsive. Connecting different tiles of labor, meanings and methods, his interest lies in how the fictitious persona or narrative, by methodology of verisimilitude, could be used in exploring moral and political territory, where art should establish questions and proposals leading to changing interpretations and different ways of approaching political hegemonies. Created narratives are the reflection of a social fiction. Thus they question the responsibility of an image and express the need to react to the existing state.
Selected exhibitions: Double feature #6, Sokol Peçi & Slobodan Stošić, Tirana Art Lab (2017); Focus: Ex-Yugoslavia and Albania, Viennacontemporary (2016); 15 years of Mangelos award, Museum of Contemporary Art, Belgrade (2016); Divigation, Y Gallery, New York (2016); The One Who Became the Color on a Flag, Anya and Andrew Shiwa gallery, New York (2015); Blasted, Beton7, Athens (2015); Several Circles, EFA Project Space, New York (2014); Imaginary friends, Interstate project, New York (2013); Close-Up&Blow-Up, MSUV, Novi Sad (2013); The most beautiful building, Mikser festival, Belgrade (2012).
Slobodan Stošić’s artistic practice explores the moral territory where art and politics meet. The artist considers that the invention of a narrative reflects contemporary social fiction and uses in his works notions such as plausible or persona. The artist contributes to the biennial with a series of works to be found in each of the eight thematic subchapters. Slobodan Stošić’s proposal consists of boxes of napkins to the disposal of the public. On each napkin there is a unique drawing, and the visitor can choose how to use it—he can frame it or he can wipe his forehead with it. Work can be measured in perspiration, when it is not only inspiration, and placing napkins here contributes to the vulgar “translation” that creative work sometimes gets.