Examining fields such as architecture, gender, language, and sculpture in her artistic practice, Maru?a Sagadin creates deceptive art objects and installations. Methods of reference and exaggeration are crossed with the usage of elements from architecture, pop, and subculture. In ingenious ways, she manages to engage the viewer in the innuendos of her work that often also takes shape as a performative intervention.
Maru?a Sagadin was born in 1978 in Ljubljana (Slovenia) and is based in Vienna (Austria). She studied architecture at TU Graz before transitioning to performative arts and sculpture at the Academy of Fine Arts Vienna. In 2015/2016, she was awarded the ISCP Grant in New York City (USA), and in 2010, the Schindler Grant at the MAK – Center for Art and Architecture in Los Angeles (USA). She tought at the Academy of Fine Arts Vienna at the Sculpture Department from 2012 – 2017.
Her recent and upcoming exhibitions include Christine König Gallery in Vienna, SPACE London (London, United Kingdom), Austrian Cultural Forum New York (NYC, USA), Syndicate (Cologne, Germany), Kunsthalle Wien (Vienna, Austria), Neue Galerie (Innsbruck, Austria), Museum of Contemporary Art, Ljubljana (Ljubljana, Slovenia), 21er Haus (Vienna, Austria), Grazer Kunstverein (Graz, Austria), and Room of Requirement/Horse & Pony Fine Arts (Berlin, Germany). In 2016, her monograph © MMXV, designed by longtime collaborator Christian Hoffelner and published by Verlag für Moderne Kunst, was a finalist for Schönste Bücher Österreichs 2016, a prize for books made in Austria from any discipline.
Examining fields such as architecture, gender, language, and sculpture in her artistic practice, Maru?a Sagadin creates deceptive art objects and installations. Methods of reference and exaggeration are crossed with the usage of elements from architecture, pop, and subculture. The artistic process of Sagadin?s work is a permanent questioning of the semiotic systems that are surrounding us. In ingenious ways, she manages to engage the viewer in the innuendos of her work that often also takes shape as a performative intervention.
