Bojana Kunst

@bkunst.bsky.social

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performance art theorist, philosopher · professor at the Institute for Applied Theatre Studies at @jlugiessen.bsky.social · author of Artist At Work and The Life of Art: Transversal Lines of Care · https://intima.org/kunst

A black-and-white political caricature from 1914 titled "Militarism on Trial." In the center background, Rosa Luxemburg stands behind a raised podium, pointing an accusing finger toward the foreground. Below her, a military officer in a pointed helmet sits with his back to the viewer on a bench labeled "Anklagebank" (Defendant's Bench). Between them, two rows of benches labeled "Zeugenbank" (Witness Bench) are filled with skeletons wearing military uniforms, facing each other. Two court officials are seated at the desk next to Luxemburg, appearing to take notes. The scene is framed by a formal courtroom setting, creating a powerful visual reversal where the anti-war activist acts as the prosecutor of the military.

Overhead view of ten people arranged loosely in a circle on a dark, matte floor, each lying or crouching close to the ground in a curled or resting position. Their bodies face inward toward the center, leaving an empty circular space between them. Clothing varies in muted and earthy colors, including dark green, black, gray, light blue, patterned fabrics, and one bright orange shirt that stands out near the bottom of the image. Some people lie on their sides with knees bent, others kneel or lie flat with arms folded under their heads. Soft, natural light enters from the top left, creating gentle highlights and shadows on the floor and emphasizing the stillness and contemplative mood of the scene.

Nighttime view of the Seine in Paris with reflections of yellow and orange lights shimmering on the water. On the right stands the illuminated Hôtel de Ville, glowing in deep blue light with large banners hanging on its facade. A metal bridge crosses the river in front of it, lit by white lamps. On the left side, residential buildings and bare winter trees line the riverbank, softly lit by streetlights under a cloudy dark sky.

A man and a woman stand close together in a brightly lit space with a wall covered in large black dots behind them. The man is bald with a short white beard and wears oversized round glasses with turquoise lenses, a black jacket, and a necklace with a large peace sign pendant. The woman has short brown hair with bangs, wears blue-framed glasses, and is smiling. Both are lit by purple and blue ambient lighting.

A high-contrast, turquoise-on-black stylized portrait of a person wearing round goggles and a headband with two antenna-like rods ending in spheres. They wear a jacket with three stripes on the sleeves and hold a hand over their chest, where a small pixelated heart shape appears. The background is completely black, giving the figure a graphic, neon silhouette look.

A man and a woman take a selfie outside the Kiasma museum in Helsinki. Both wear winter jackets and colorful tinted glasses. The man has a bald head and turquoise lenses, and the woman wears a pink knit hat, a pastel plaid scarf, and pink lenses. Behind them, two large exhibition banners hang on the museum’s facade, one for Essi Kuokkanen and one for Sarah Lucas, in bright orange and yellow. The sky is clear and blue.

Bright yellow poster with bold blue and white graphics for the Diskurs Festival 2025. In the center, there is a photo of a smashed white layer cake with black polka dots and a single broken candle sticking out. Above the cake, in a jagged blue frame, the text reads “DISKURSFESTIVAL 6.–9.11.2025.” In the top right corner, another starburst shape says “FORESHOCKS!” in blue letters. On the left, a blue badge reads “BUY FESTIVAL PASS PASS PASS.” Along the bottom, small blue icons label sections “HOME,” “CALENDER,” “CONTACT,” “TEAM,” and “BLOG.” Logos of sponsors and institutions, including Gießen Kulturamt, Hessische Theater Akademie, and Justus-Liebig-Universität Gießen, are aligned at the bottom. The design uses only yellow, blue, white, and black, creating a loud, pop-art feel.

View of the historic Rococo Hall inside the Duchess Anna Amalia Library in Weimar. The room is grand and oval-shaped, lined with floor-to-ceiling shelves filled with antique books in faded leather bindings. The walls are painted pale blue with white stucco ornamentation and gilded gold accents on the railings, columns, and cornices. A curved upper gallery wraps around the room, supported by arches and balustrades decorated with intricate gold leaf. Marble busts of scholars and historical figures stand at intervals along the balcony. Above, a richly decorated ceiling features an oval skylight with painted artwork and sculpted flourishes. Soft natural light shines through tall arched windows, supplemented by hanging lantern-style lamps that add a warm glow. The overall atmosphere is solemn, elegant, and reverent — a sanctuary of knowledge preserved in exquisite 18th-century style.

Two people are sitting on the floor and working together on a large white cloth spread out in front of them. The cloth is covered with hand-stitched colorful lines and circles that resemble a map or network diagram, stitched in blue, orange, green, and red thread. The person on the left, wearing a white T-shirt and black shorts, has several tattoos on their arms and legs and is kneeling while carefully placing something on the fabric. The person on the right, in a light blue T-shirt and denim shorts, is also focused on attaching items to the cloth. Around them, several small white objects with blue straps are placed on the map. In the background, other people are sitting on chairs or the floor, watching the activity. The setting appears to be indoors on a wooden floor.

Close-up photo of an open book with the title TOGETHER visible on the left page, listing contributing authors. A second open page is layered above it, showing the title of an article, The Politics of Care and Solidarity by Bojana Kunst. The photo is bright, with clean, minimal design and black text on white pages.

Color photo of the cover of a book titled El ensayo de la exposición (1977–2017). The cover features a stylized pie chart drawn in brown and black pencil on an orange background, with numbers from 0 to 23 representing hours of the day. The publisher logos "Bulegoa Z/B" and "Concreta" are printed at the bottom.

Poster with a black background and white text, featuring a grainy spray-paint texture with abstract star and oval shapes scattered throughout. Large bold text at the top reads “Rough Proposals” in a modern sans-serif font, with “Rough” split across two lines (“Rou” and “gh”). The names of participants are listed on the right: Murillo Basso, Lagha Ghavam, Blanca Gómez Terán, Ekaterina Kaliuzhnaia, Kati Kiraly, Micaela Odriozola Maglie, Aleksandra Nowakowska, and Morteza Zarei. Event details at the bottom: “Theaterlabor (PB3) Strahlzentrum Gießen,” and the dates “03–06 07.2025.” Logos of Justus-Liebig-Universität Gießen, Goethe Universität Frankfurt am Main, Hessische Theaterakademie, and Stadttheater Gießen are also included.

Three vertical panels / Left panel: A view of the entrance to a small historic house with light yellow and white plaster walls and timber framing. The wooden door is open, revealing a dark hallway inside. Several plant pots and flowers are arranged near the steps. A small portrait photo of Friedrich Nietzsche is placed on a brick ledge next to the entrance. Center panel: A close-up of Friedrich Nietzsche’s grave, a horizontal stone slab with gold-colored engraved text reading: “FRIEDRICH NIETZSCHE, 15 OCTOBER 1844 – 25 AUGUST 1900.” The stone lies flat on the grassy ground with dappled sunlight and some moss in the engraved letters. Right panel: A gray statue of a naked male figure with an exaggerated mustache, resembling Nietzsche. The figure stands upright in a grassy yard, holding a round object in front of its lower body. Trees and a red-roofed building are visible in the background.

Promotional image for the book presentation of Artista en obras: De la proximidad entre arte y capitalismo by Bojana Kunst. The left side shows the book cover with a photo of a woman in a long black dress and wide-brimmed hat standing at the edge of a reflective lake, facing distant mountains under a cloudy sky. The right side of the image contains event details on a soft purple background: The presentation will take place on Wednesday, April 23 at 6:30 PM at Librería Metales Pesados, Santiago Centro, Chile. The conversation will feature Matheus Calderón and Jennifer McColl Crozie. Logos of the publisher, Metales Pesados Ediciones, appear at the bottom.

A group of eleven people is gathered in an outdoor courtyard with stone pavement. They are standing in front of a rustic pink building with tall windows, framed by two leafless trees. The group is diverse in age and style, wearing a mix of casual and stylish clothing, with some donning scarves, hats, and jackets. Many are smiling and posing closely together, reflecting a warm and friendly atmosphere. One person is crouching in the front while others stand behind them. The yellow tote bag and bright blue skirt add pops of color to the otherwise muted background.

The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had. A marble sculpture of an angel and a reclining woman, set against a dramatic backdrop of golden rays. The angel, with flowing hair and large wings, holds a golden arrow and looks down tenderly at the woman. The woman, draped in flowing robes, tilts her head back with an expression of ecstasy or surrender. The golden rays fan out behind them, creating a heavenly atmosphere. The detailed carving of the figures' faces, clothing, and posture captures a sense of movement and emotion. Location: The church of Santa Maria della Vittoria, Rome, Italy. Sculpture: Ecstasy of Saint Teresa by Gian Lorenzo Bernini, High Roman Baroque, 1652.

A book titled Artista en obras: De la proximidad entre arte y capitalismo by Bojana Kunst is displayed in a bookstore or library. The book cover features an image of a woman dressed in black, carrying a wooden structure on her back, standing in a reflective body of water with mountains in the background. A person’s hands hold two copies of the book to show both the front and back covers. The back cover contains a detailed description of the book’s content.

A cozy and engaging book discussion at the Booksa bookstore in Zagreb, where Bojana Kunst presents her latest book. A captivated audience listens, reflects, and applauds in an intimate literary atmosphere.

A woman with shoulder-length dark hair, wearing black sunglasses, a dark green sweater, and black pants, stands in the center of the ancient Epidaurus Theater at the Sanctuary of Asklepios in Greece. She has both arms raised towards the sky, with an expression of triumph or theatrical performance. The sun shines brightly behind her, casting a dramatic shadow on the gravel ground, which resembles the silhouette of a bird with outstretched wings. The massive stone seating of the theater rises behind her, partially filled with visitors scattered throughout. The sky is a mix of bright blue and fluffy white clouds, adding depth and contrast to the scene. A low stone railing separates the person from the seating area, and a narrow path leads directly to where they are standing.

Maria Lai: Black Book, 2011

Cover of a Book on Dance Studies: A book titled "Dance Studies Vol. 5" in both English and Chinese. The cover has an abstract, blurred design in shades of black and gray, with blue and green text. The publisher's name, "Culture and Art Publishing House," is printed at the bottom.

A group of people are participating in an interactive art installation or workshop in a spacious indoor setting with a modern, curved ceiling and a mezzanine with metal railings. The floor is light gray, and the walls are mostly white. Participants are engaged in various creative activities, sitting or standing on the floor, surrounded by an intricate web of strings, yarn, and paper materials. The strings crisscross the entire room, connecting people and objects, creating a chaotic but structured network. In the foreground, a woman with dark hair tied back is sitting cross-legged, wearing a black T-shirt with white text that reads "IN BLACK." She is weaving or manipulating the strings and papers around her. Next to her, another woman with long, wavy brown hair, wearing a dark green sweater and black pants, is also working with the materials, seated on the floor. There are magazines and newspapers scattered around them, with visible colorful images and text, though the specific words are not fully readable. To the right, a woman in a white T-shirt and blue jeans sits with her back to the camera, working on a project. Beside her, another person in black clothes is kneeling on the floor, using a wooden board, possibly for crafting. Dried flowers and small objects are connected to the strings. In the background, more participants are engaged in similar activities. A woman in a black tank top and jeans is standing near a stage-like area, twisting pieces of paper or fabric into the network of strings. Another woman with blonde hair, wearing a black vest, is also attaching materials to the structure. A man dressed in black stands near the staircase, observing the scene. The atmosphere suggests an artistic or community-based project focusing on connection and collaboration, with participants actively creating something together using unconventional materials.

The image shows an art installation in a gallery, where a large textile artwork is hung on a white wall. The textile piece is an embroidered map, likely representing a city or region, with roads and rivers stitched onto a cream-colored fabric. The roads are embroidered in shades of brown and orange, while the rivers and water bodies are in blue. Various labels and annotations in red thread mark specific locations, streets, or landmarks. A small group of people is gathered around, observing the artwork. One woman in a camel-colored coat, carrying a black bag, stands in the foreground with her back to the camera. Another woman in dark clothing is engaged in conversation with a man, who has a short beard and is also dressed in dark clothing. On the right side of the artwork, there are two small white placards with text, likely providing information about the piece or the artist, though the text is too small to read in the image. The gallery space is minimalist, with white walls and wooden flooring, allowing the artwork to stand out prominently. A security camera is mounted on the ceiling, monitoring the exhibition space. The textile map is affixed to the wall with small black clips along the top edge.

Two people with light skin and medium-length hair are installing a large fabric artwork in a gallery space with white walls and a wooden floor. One person, wearing a black hoodie and dark pants, stands on a yellow wooden ladder, holding the fabric near the top. The other person, wearing a navy blue vest over a brown long-sleeved shirt and green cargo pants, stands on the floor, attaching or adjusting the fabric. The artwork is an off-white textile piece with embroidered and appliquéd designs resembling a map. The map features curving and intersecting lines in orange, green, blue, and red, forming a network of paths or roads. Some lines are solid, while others are dashed or zigzagged. Red embroidered text is scattered across the fabric, following the paths. The visible text includes "MAPPA" and other smaller inscriptions in red along various lines. Several fabric strips with red text hang from parts of the artwork. The background consists of a minimalist white gallery wall, and the floor is made of light wood. The composition of the image captures the two individuals engaged in their work, focusing on the details of the textile map installation.