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Maja Djordjevic

Maja Djordjevic (b.1990, Belgrade, Serbia) lives and works in Belgrade and London. Djordjevic completed her Bachelor and Master studies at Faculty of Fine Arts in Belgrade. Selected solo exhibitions include: ‘The Metamorphosis’ at Taipei Dangdai, Dio Horia Gallery, Taipei; ‘Renaissance Humanism’ at Art021 Shanghai, Dio Horia Gallery, Shanghai; ‘This Must Be The Place’ at Carl Kostyál Gallery, London; ‘Deal Again’ at Balkan Projects, Los Angeles; ‘I am Always a Different Person’ at Dio Horia Gallery, Athens. Selected group exhibitions include: 'The Cuteness Factor' at Ludwig Museum, Köln; ‘Once Upon a Time in Mayfair’ at Philips X in collaboration with Dynamisk, London; ‘New Mediations’ at MODEM Modern and Contemporary Arts Centre, Debrecen; 'After Hope' at Dio Horia Gallery, Athens; ‘Drawing Together 201 Exquisite Corpses’, curated by Hans Ulrich Obrist at Museum in Bellpark Kriens; ‘The Artist is Online’ at Koning Gallery, Berlin; ‘XY group show’ at Galerie Rundgænger, Frankfurt; ‘Mixed Pickles 9’ at Ruttkowski Gallery, Munich; Untitled Miami at Dio Horia Gallery, Online Edition, Artland; ‘We Used to Gather’ at Library Street Collective, Detroit; ‘Friends Non Show’ at Dio Horia Gallery, Athens; ‘Post Digital Pop’ at The Garage, Amsterdam and her participation at the 57th October Art Salon, Biennial exhibition, Belgrade. Her work has been featured in Juxtapoz, Abstract, TimeOut London, Hypebeast and more art publications. She has received two awards for Painting, the Ristai Beta Vukanović and the Faculty of Fine Arts in Belgrade prizes. Djordevic’s work has been included in notable art collections, such as Mwoods Museum, Beijing; Blanca and Borja Thyssen-Bornemisza Collection, Madrid; X Museum, Beijing.

The artist is known for her digitally-native aesthetic sensibility and her innate ease within the realms of computer-generated visual syntax and digital manipulation.​ ​Djordjevic’s work has from the very beginning directly engaged with the legacies of deskilling, net art, and feminist figuration.

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