MR: Although you are dealing with social and political issues (especially in the work about Jasenaš, where you talk about the suffering of its inhabitants during the two wars), your art is not explicitly socially engaged. Its engagement is of a rather subtle kind. Do you consider your work as socially engaged at all?
AK: I can’t answer this question without asking myself what social engagement is. Even talking about something important to people is somehow engaged. There are different shades of approaching the subject; I would say that there is a quiet, quieter, and almost silent engagement, and loud, louder, and the loudest engagement – in the way the subject is handled, not necessarily in the message it conveys. I live and, as I said, sympathize, record, and share. If I’m pointing at the topics that are of social or human significance, I would say that my art is engaged, despite my, let’s say, more poetic approach to the way I handle the subject. But, personally, I don’t really think it and I don’t start my work with the idea that my art can really initiate great changes. I think it can maybe touch and encourage some viewers, and that is enough for me; it means a lot.
»The home in my works is always insecure, questioable, or at least re-examined. Does it exist? And if it does, where is it? Is it related to a certain place or not?«
MR: You presented the video work Where is Home at the exhibition in the final selection of the prestigious Croatian award Radoslav Putar. All the finalists, in some way, reflected on the theme of »home.« Obviously, that topic is quite present in the work of young Croatian artists? Why?
AK: The works I exhibited in the final selection of the Radoslav Putar Prize were all addressing the spaces that have somewhat changed, and for that change, I decided to gather the people who are related to that space with the aim of recording the present situation and to bring a slight shift into the situation through a meeting that is somewhat ritualistic. I would say that the other finalists were talking about the changed or vacant spaces as well, and the exhibition looked like a thematic group exhibit, which was extremely interesting because it was arbitrary.