SNEŽANA VUČETIĆ BOHM
WORKS 1990-2024
Self Portrait as a nurse
Eternal, apart
Entering
Goods in the hold of the ship
Nightwood
Take everything you can carry in your hands.
Forget, nothing.
The Pergamon Project
Finlandia
..sitting with his wife and two children in a Citroen CX Pallas Turbo
Chevrolet Impala Custom
Self Portraits as a nurse on
Malmskillnadsgatan, ("If they move kill’ em")
Self Portraits (1991-1994)
Self Portrait in a costume made for tourists. (1998)
Self Portraits (2003-2023)
PHOTOGRAPHY
But since some Industry must be
EXHIBITIONS ( selection)
DOM, Gallery ID:I, Stockholm, 2024
Victory over the Victory, @Köttinspektionen, Uppsala, 2024
Self Portraits 1991-92, Seven Rooms and a Garden: Rashid Johnson and The Moderna Museet Collection, Moderna Museet, Stockholm SWE 2023-24
Self Portraits, 1991-92, Insights @Moderna Museet, Stockholm, 2022
IDÈ:IDAG @Konstnärshuset, 2022
Intervention(do not interrupt me) @Gallery ID:I, 2021
Body of Care & Control @Köttinspektionen, Uppsala, 2019
50/50 @Walla Scen, Sthlm, 2011
SITE-SPECIFIC PUBLIC WORKS
G./F. (stagedirections) @Karolinska University Hospital Huddinge, 2019
Stairs with a balcony, 2016 proposal
VIDEOWORKS
The Departure (2000-2003)
The Making of Madonna, 1995
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Contact
Instagram
Exhibition View, Inblickar/Insights, 2022, Svenska Förvärv/Swedish Acquisitions 2021
Moderna Museet, Stockholm, SWE
Self Portraits 1991-92 (from the series Self Portraits)
In 1991, when Snežana Vučetić Bohm was studying at Nordens Fotoskola, she was asked to make a documentary photo reportage. Equipped with a stand, a self timer and a Rolleiflex camera – a classic model for photo journalists – she travelled to Yugoslavia, which was on the brink of civil war. Her choice to work in black and white is also in keeping with a long tradition of photo journalism. But in the midst of the political conflict around her, she turned the camera on herself.Both the tank on the bookshelf in her cousins’ home and the barbed-wire fence in the landscape near her grandmother’s house seem to prophesy the looming war. Vučetić Bohm meets our gaze as both observer and observed, as the human being she is, in a terrifying and incomprehensible situation. - text from exhibition catalouge, Moderna Museet, 2022
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Exhibition view
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Exhibition view
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Self Portrait, Gärdet, Stockholm, Sweden, 1991
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Self Portrait, Skopje, North-Macedonia, Yugoslavia, 1991
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Self Portrait, Vranic, Serbia, Yugoslavia, 1991
Exhibition view
Self Portrait, Vranic, Serbia, Yugoslavia, 1991