Cordial Points

Cristina Calderoni * Vera Klimentyeva * Selma Selman * Bojana Stamenkovic

The plots between four different Cordial Points are mapped and the different medias have been checked with regard to their usability. There are four different approaches as well, though all of the art pieces created by Cristina Calderoni, Vera Klimentyeva, Selma Selman and Bojana Stamenkovic are dealing with deconstruction and new interpretation of traditional values. While Cristina Calderoni presents a sound file she has produced during her stay in a Residency on a lonesome island in Brasil, Vera Klimentyeva shows her new silk print edition, in which she is dealing with emblems and insignias. Selma Selman plays with the female role and Bojana Stamenkovic tells about changing even the sex for the impact on family welfare. They used medias are sound, silk print, video and installation/embroidery.

Heraldic symbols are questioned and dismantle, traditions are analysed and new interpretdated through education and alternative possibilities, communication as a tool for a better living together is applyed again. The four cordial points are in a quite anachronistic analog world though they are completely contemporary art pieces. The common denominator of the four female positions is a transformation of process, changes, places, colours and last but not least our souls. Handpalms, eyes and voices are kind of door to human souls, where you are able to read about the personally character.


Cristina Calderoni



disk 45 rpm (a-side: nice to meet you | b-side: Come closer)
B.r.a.m.a is a voice, your voice.

Born during the performance nice to meet you that took place in the city of Vienna in 2017.
People were invited to have a talk with me about the idea of home. The sound is a recording of different voices, that I mixed together as a vibrating sound collage. Home is something that everyone is looking for, home is a feeling, is freedom, is love.

Vera Klimentyeva 

Visual artist focused on topics of identity, over identification, religion, social role models, deconstruction and transformation. In her artworks she seeks explanations and answers to various questions in regard of nowadays situation of different contents, which often deal with spiritual aspects, gender roles, such concepts as home, cultural heritage, unconditional love, stereotypical national features and symbolism. Working in fields of fine arts and graphic design, using techniques of printmaking, painting, photography and digital collage.

The project is a series of silkscreen prints and is examining the idea of national symbols and their deconstruction and transformation in terms of epochs and trends.


Selma Selman


Self-Portrait: AEG Vampyr 1400​ (Video documentation, 9'54'') 2017

Self-Portrait: AEG Vampyr 1400 i​s a performance where I destroy a ​vacuum cleaners​, sorting both the valuable parts and the less valuable parts. The metals and the motors are valuable, but the plastic is worthless. In addition, my family's everyday survival is dependent on this exact same labor, but the metals and motors are sold in the recycling centers. This highlights the subjective nature of the value of this labor - my family survives by selling the metals, and I survive by exhibiting them as performance art.

In addition, I am destroying a technology of house-wives’ domestic imprisonment. This act allows me to free myself from notions and tools of domesticity and establish my own integrity and identity.


Bojana Stamenkovic


“Sworn Virgina”, needle installation, landscape from  the film Virgina, 2016/2017.
“Sworn Virgina”, embroidery, landscape from the film Virgina 2016.

Bojana Stramenkovic artist research was inspired by the film Virgina and the text of Suzana Milevska; Gender Difference in the Balkans/ Milevska, Suzana/ 2010. The film Virgina (dir. Srdjan Karanovic, 1991, Yugoslavia, 100 min.), tells the story of Stevan.  Stevan is a young heir of a family that is cursed because of having too many female children. Stevan is thus designated to live as a boy by "his" own family, although she was born as a girl baby. Actually, the family follows the ancient custom of "sworn virgins" ("virgina" or ''tobelija'') in order to avoid the heavy social censure of an all-girl offspring. The loud celebration accompanying the hoax announcement of a boy birth later turns out to be a heavy burden in Stevan's life. Being stamped by the ancient custom, Stevan goes through confusing situations being both a girl and a boy – having much more than the usual secrets to hide. Finally, the woman ''wins'', she breaks with the imposed rules and escapes, but she does this by fleeing the country and the unwanted life as a man together with her newly found freedom in a life with a man, her secret lover. She escapes one patriarchy and enters another one. The film ending does not leave a place for any feminist reading because it suggests the heterosexual marriage as the only way out for Stevan.