Introducing: Dijan Kahrimanovic

Bosnian artist Dijan Kahrimanovic will present, for the first time ever, a performance work in London at the Private View of  ‘Young Masters: Dialogues’ at Sphinx Fine Art, 12 – 24 October 2015.

Dijan Kahrimanovic
Projector with performance
Each slide is available as a 21 x 29.7cm c-type digital print, edition of 3
Kahrimanovic’s work Untitled is a reworking of his piece ‘Collective Memory’ which was first shown at Liste, Art Basel in 2015. The slides are discarded photographs that the artist has recovered and made into slide format. The performance, taking place on 14 October 2015, is a lecture,spoken in English, Swiss German and Bosnian.

Dijan Kahrimanovic (b. 1990), a graduate of the F+F Schule für Kunst und Mediendesign Zürich, is a Bosnian national, he lives and works in Switzerland. Dijan Kahrimanovic was announced winner of the Helvetia Art Prize 2015 (prestigious Nationale Suisse Art Prize) with his work Collective Memory. The Jury consisted of Kathleen Bühler (Kunstmuseum Bern), Dorothee Messmer (Kunstmuseum Olten) and Katrin Weilenmann (Aargauer Kunsthaus).

Taken from the Text by Charlotte Matter – Translated from German.

In a gray plastic box from the hardware store, where you’d keep the tool in the basement, are stacked: a slide projector; Cable; Books; a rolled-up screen and a frame made of wood. The box looks out of place, and nobody really knows what to do with it. Then Dijan Kahrimanovic arrives and with the setting up the performance begins.

For this performances Dijan Kahrimanovic collected discarded slides. The pictures show intimate scenes captured for a private family album. Young men in uniforms, somewhat embarrassed, yet proudly posing; Family gatherings, traditional food – Sulz decorated with boiled eggs; Holidays in Greece and Italy, a couple posing alternately in front of the same background, guidebook in hand; new material possessions of the new car, with the family cat, the dog… How do these photographs recalling family moments differ between nations? Which aesthetic and thematic shifts arising from other contexts which common conventions become noticeable? Dijan Kahrimanovic arranges these photographs and tells improvised stories, soliloquies and dialogues which are triggered by the photographs as if by memory.

He thens turns the projector off, rolls away the screen and repacks the box – the story has ended.


Dijan Kahrimanovic presented a solo presentation at LISTE – Art Fair Basel (June 2015) a work consisting of nearly 300 photographic self-portraits.

With this performance, he interweaves collective memory, personal history and cultural identity. His 300 photographic self-portrait where made with the interaction of strangers. During a period of three weeks he randomly called strangers and asked them to give him instructions for a self-portrait, without ever having seen him. Each conversation gave him a mental image which he interpreted into a self-portrait. The images serve as a documentary trail of a performative process. The artist is overwhelming present from his barrage of shots, but has he been captured? Behind every picture lies a conversation which, in most cases was sometimes stimulating, perhaps even amusing but emotionally exhausting. Because Dijan Kahrimanovic whilst his calls invades the privacy of other people, he himself is violated – he is subject to their will and sets his body virtually available. Wherever he looks, what position he takes what he wears, has been determine by someone else, and demonstrates a collection of thoughts, associations, projections and fetishes which has been allowed to run wild.


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