Radenko Milak – PRISKA PASQUER

RADENKO MILAK

*1980 in Travnik, Yugoslavia

Radenko Milak analysiert die Rolle der zeitgenössischen Bildproduktion bei der Herausbildung unseres historischen und kulturellen Gedächtnisses. Das malerische Werk des bosnischen Künstlers kreist um Fragen der Fixierung und Speicherung des Visuellen sowohl in der persönlichen Erinnerung als auch in der medialen Präsentation durch Film und Foto.

*1980 in Travnik, Yugoslavia

Radenko Milak analyses the role of contemporary image production in the formation of our historical and cultural memory. The Bosnian artist’s painting work centres on questions relating to how visual elements are fixed and stored – both in personal memories and as presented in the media of film and photography.

Fields of Emotional Habits, Radenko Milak,Foto Nathan Ishar, courtesy PRISKA PASQUER, Cologne 2

Fields of Emotional Habits, Radenko Milak,Foto Nathan Ishar, courtesy PRISKA PASQUER, Cologne 1

RM487, Foto Nathan Ishar, courtesy PRISKA PASQUER, Cologne

RM486, Foto Nathan Ishar, courtesy PRISKA PASQUER, Cologne

RM484, Foto Nathan Ishar, courtesy PRISKA PASQUER, Cologne

RADENKO MILAK | A speck of the world's first plutonium, 1946, 2014 watercolor on paper 58.5 x 47 RM344

RADENKO MILAK | Imperial Trans-Antarctic Expedition 1914–17, 2014 watercolor on paper 36 x 50 cm RM328

RADENKO MILAK | London readers continue to browse through a library, even though it is destroyed by German bombs. WWII 2014 watercolor on paper 56 x 71 cm RM348

RADENKO MILAK | On the Seine In 1963, photographer Melvin Sokolsky shot the iconic Bubble fashion series in Paris for Harper's Bazaar magazine's spring collection. Alix of Modern 2014 watercolor on paper 70 x 56 cm RM342

RADENKO MILAK | Sylvia Plath, Date of Death February 11, 1963, 2014 watercolor on paper 71.5 x 50.5 cm RM340

RADENKO MILAK | Soldiers praying in Cologne Cathedral during WWII in Cologne, Germany 1945, 2014 watercolor on paper 72 x 53 cm RM331

September 11, 2014 watercolor on paper 51.5 x 33 cm RM345

RADENO MILAK | Monument in Krusevo from Socialic Yugoslavia, 2014 watercolor on paper 55 x 69 cm RM339

Hindenburg disaster, 2014 watercolor on paper 66.5 x 57 cm RM329

RADENKO MILAK | Hindenburg disaster, 2014 watercolor on paper 66.5 x 57 cm RM329

RADENKO MILAK | Automobile arriving from the eastern sector of Berlin being halted by West Berlin police 2014 watercolour on paper 64 x 52,5 cm RM335

RADENKO MILAK | Alexander Rodchenko, Pioneer, 2014 watercolor on paper 72 x 56 cm RM349

RADENKO MILAK | Pillars of Creation (From the Series Dark Matter) 2017 | watercolour on paper, mounted on Dibond 200 x 140 cm | signed and dated verso: Radenko Milak RM 2017 #RM259

RADENKO MILAK | Nanoscopic Vision (From the Series Dark Matter) 2017 | watercolour on paper, mounted on Dibond 200 x 140 cm | signed and dated verso: Radenko Milak RM 2017 #RM324

RADENKO MILAK | Absence of Matter (From the Series Dark Matter) 2017 | watercolour on paper, mounted on Dibond 200 x 140 cm | signed and dated verso: Radenko Milak RM 2017 #RM325

RADENKO MILAK | Absence of Landscape (From the Series Dark Matter) 2017 | watercolour on paper, mounted on Dibond 200 x 140 cm | signed and dated verso: Radenko Milak RM 2017 #RM326

Radenko Milak, 08. September 1966 – The first Star Trek series premieres on NBC, 2013, watercolor

Radenko Milak, 17. April 1964 – Jerrie Mock becomes the first woman to circumnavigate the world by air, 2013, watercolor

Radenko Milak, 15. July 1997 – Gianni Versace died, 2013, watercolor

Radenko Milak, 07 August 1974. Philippe Petit performs a high wire act between the twin towers of the World Trade Centre, at a height of 1,368 feet (417 m), from the series 365, 2013, watercolor

RADENKO MILAK | 17 September 2011. Occupy Wall Street protests begin in the United States. This develops into the Occupy movement, spreading to 82 other countries by October, from the series 365, 2013 | watercolor

RADENKO MILAK | 30 October 1961. Nuclear testing: The Soviet Union detonates the hydrogen bomb Tsar Bomba over Novaya Zemlya; at 50 megatons of yield, it is still the largest explosive device ever detonated, nuclear or otherwise, from the series 365 | watercolor

RADENKO MILAK | I see a dark stranger (1946), 2014 | watercolor

Radenko Milak, La Notte (Michelangelo Antonioni 1961), 2014, watercolor

RADENKO MILAK | Man with a Movie Camera (1929), 2014 | watercolor

RADENKO MILAK | Vivre sa vie (1962, Jean-Luc Godard), 2014 | watercolor

Radenko Milak, Big Time, 2012, oil on canvas

Radenko Milak, And what else did you see? – I couldn’t see everything, 2010-2012, oil on canvas, 24 parts

Radenko Milak, Untitled (1), 2012, watercolor

Tab 1 Tab 2 Tab 3

Radenko Milak (geb. 1980) analysiert die Rolle der zeitgenössischen Bildproduktion bei der Herausbildung unseres historischen und kulturellen Gedächtnisses. Das malerische Werk des bosnischen Künstlers kreist um Fragen der Fixierung und Speicherung des Visuellen sowohl in der persönlichen Erinnerung als auch in der medialen Präsentation durch Film und Foto. | PRISKA PASQUER zeigt eine repräsentative Auswahl von Werken aus den Jahren 2005 – 2014. Im Zentrum der von León Krempel kuratierten Schau steht die 24-teilige Serie And what else did you see? – I couldn’t see everything (2010-2012).

Malerei, Zeichnung, Aquarell und neuerdings auch Animation sind die bevorzugten Ausdrucksmittel von Radenko Milak. Sein Material findet er in Printmedien und im Internet. In seinen Aquarellen und Ölgemälden transformiert er Vorlagen aus Filmen, Reportagen oder Pressebildern zu kleinen, intimen bildnerischen Szenarien. Diese können beim Betrachter Fakten und Geschichten ins Gedächtnis rufen, aber auch als autonome Bilderzählungen wahrgenommen werden.

Die Serie And what else did you see? – I couldn’t see everything (2010-2012) führt Malerei und Kriegsfotografie zusammen. Sie basiert auf einem Pressefoto, das Ron Haviv 1992 im Bosnienkrieg aufgenommen hat. Die Aufnahme zeigt einen Uniformierten mit Waffe, Sonnenbrille im Haar und Zigarette in der Hand, der im Begriff ist, mit aller Kraft eine mit dem Gesicht auf dem Boden liegende Frau zu treten. Das Foto aus der „Blood & Honey: A Balkan War Journal“ benannten Serie provozierte zahlreiche Kommentare und Diskussionen.

24 Mal hat Milak dieses Motiv als kleine schwarzweiße Ölstudie gemalt. Den Titel entnahm er einem Interview mit dem Fotografen. Dieser hatte auf die Frage eines Journalisten, was er sonst noch gesehen habe, geantwortet: „Ich konnte nicht alles sehen!“. Genau um diese Frage geht es in Milaks malerischen Annäherungen an das Sujet. Denn was genau sieht man auf dem Foto? „Eigentlich sagt uns dieses Foto sehr wenig – allenfalls dies: dass der Krieg die Hölle ist und dass mit Gewehren bewaffnete, schlanke junge Männer imstande sind, dickliche ältere Frauen, die, hilflos oder schon getötet, auf der Straße liegen, gegen den Kopf zu treten.“, kommentierte Susan Sontag die Aussagekraft des Bildes.

In seinen malerischen Variationen umkreist Milak wieder und wieder das vermeintlich eindeutige fotografische Motiv. Er übersetzt das technische Bild in ein handgemachtes und produziert dabei eine unperfekte Ähnlichkeit, die das fehlende Wissen erfahrbar macht. An die Stelle der festen Konturen und präzisen Details treten eine sinnliche Pinselführung, ein introspektiver Blick – und bieten damit eine neue Art und Weise, die übermittelte Information zu verstehen.

Milaks Bilder machen die Mechanismen bewusst, nach denen sich unser historisches und kulturelles Gedächtnis im Medienzeitalter formiert. Dabei widmet er sich nicht nur den großen historisch-politischen Narrativen, sondern auch dem Patchwork persönlicher, populärer Erzählungen. Beispielhaft hierfür ist ein Aquarell aus der Serie Unfinished Stories (2012-13). Das nur mit schwarzem Pigment ausgeführte Bild führt den Betrachter in einen kleinen Raum, unmittelbar vor ein großes, fast die gesamte Bildfläche einnehmendes Fenster. Durch den rechten Flügel blickt man hinaus auf eine verschwommene Stadtlandschaft mit Wohnblocks und angedeuteten Grünflächen, der linke Fensterflügel ist von einem halbtransparenten Vorhang verdeckt. Davor steht schräg ein kleiner eingeschalteter Fernseher. Es ist nicht klar, ob das Aquarell auf einem Filmstill basiert, oder die malerische Umsetzung einer tatsächlich vom Künstler gesehenen Situation ist. Zudem greift die Szene ein klassisches Sujet der Interieurmalerei des 19. Jahrhunderts auf. In diesem zeitgenössischen „Fensterbild“ thematisiert Milak die Befindlichkeit des modernen Individuums und seiner über das Auge geleiteten Beziehung zur Welt da draußen – die über das Fernsehen ohnehin schon gebrochen und in den intimen Raum eingedrungen ist.

Radenko Milak
Radenko Milak, geb. 1980 in Travnik, ehem. Jugoslawien, lebt und arbeitet in Banja Luka, Bosnien-Herzegowina. Ausbildung an Akademien in Banja Luka und Belgrad, Gruppenausstellungen u.a. in Paris, München und Wien. Werke in Sammlungen: Kunstsammlung Deutsche Telekom, Agnès B., Paris, Nationalgalerie von Bosnien und Herzegowina, Sarajewo, Museum of Contemporary Art der Republik Srpska in Banja Luca u.a.

Die Kunsthalle Darmstadt zeigte 2014 die erste institutionelle Einzelausstellung von Radenko Milak mit seinem bislang größten Projekt 365. Hierzu erschien im Verlag der Buchhandlung Walther König eine Publikation mit Essays von Jonathan Blackwood und Branislav Dimitrijevic.

Studium
Faculty of Fine Arts, University of Art Belgrade, Belgrade, Serbia, 2007
Academy of Art, University of Banja Luka, Bosnia and Herzegovina, 2003

Einzelausstellungen (Auswahl)
2019 Radenko Milak, Endless Movie, Museo Claustro de San Agustin, Bogota2017 Radenko Milak, 14/09/XX, Christine König Galerie, Vienna
2017 Radenko Milak, From the far side of the moon, Priska Pasquer Gallery, Cologne
2017 Radenko Milak, University of Disaster, Radenko Milak with international guests, curated by Christopher Yggdre, Sinziana Ravini, Fredrik Svensk, Anna van der Vliet, Pavilion of Bosnia and Herzegovina, at 57th International Art Exhibition, La Biennale di Venezia
2016 Radenko Milak, curated by León Krempel, Rutger Brandt Gallery, Amsterdam
2016 Radenko Milak,Promise of an Image, Galerie Les Filles du Calvaire, Paris
2015 Radenko Milak, University of Disaster & Endless Movie, Galeria La Balsa Arte, Bogota
2014 Radenko Milak, 365 – Image of Time, Kunsthalle, Darmstadt
2014 Radenko Milak, Big Time, curated by León Krempel, Priska Pasquer Gallery, Cologne
2014 Radenko Milak, Unfinished Story, Patricia Dorfmann Gallery, Paris
2012 Radenko Milak, I Have Said Too Much I Have Not Said Enough, Duplex/100m2, Sarajevo
2012 Radenko Milak, And What Else Did You See? – I Couldn’t See Everything!, curated by Branislav Dimitrijević, Museum of Contemporary Art, Belgrade, Belgrade
2006 Radenko Milak,Intimacy of Planetary Experience, Museum of Contemporary Art Banja Luka, Banja Luka

Einzelausstellungen mit Roman Uranjek
2019 Radenko Milak & Roman Uranjek – Dates 9, Ani Molnár Gallery, Budapest
2018 Radenko Milak & Roman Uranjek, FACING GAÏA, Christine König Galerie, Vienna
2016 Radenko Milak & Roman Uranjek – Dates 7, curated by Ani Molnár, Galerija Fotografija, Ljubljana
2016 Radenko Milak & Roman Uranjek – Dates 6 (Historical Encounters), Krank Art Gallery,
Istanbul
2016 Radenko Milak & Roman Uranjek – Dates 5, curated by Tevž Logar, Eastwards Prospectus Gallery, Bucharest
2016 Radenko Milak & Roman Uranjek – Dates 4, Duplex/100m2, Sarajevo
2016 Radenko Milak & Roman Uranjek – Dates 3, curated by Zoran Đaković Minniti , The Cultural Centre of Belgrade, Belgrade
2015 Radenko Milak & Roman Uranjek – Dates 2, Museum of Contemporary Art, Zagreb
2015 Radenko Milak & Roman Uranjek – Dates 1, curated by Dr. Sc. Sarita Vujković, Gallery of Matica Srpska, Novi Sad

Gruppenausstellungen (Auswahl)
2019 Sans Tambour ni Trompette, cent ans de guerre, Faux Mouvement, Metz
2019 Listen to Us – Artistic Intelligence (from the Deutsche Telekom Art Collection), Plovdiv
2019 One Hundred Worlds. Kunstmuseum Wolfsburg. The Collection, Kunstmuseum Wolfsburg
2019 Hyper! A journey into art and music, Deichtorhallen, Hamburg
2018 Kochi Muziris Biennale 2018, Kerala
2018 57th October Salon, Belgrade City Museum, Belgrade
2018 The Studio, Kampala Art Biennale 2018, Kampala
2018 CUT / REZ – Examples of collage in artistic practices in Central and Eastern Europe from the Avantgarde until today, Museum of Contemporary Art, Zagreb
2018 Avantgarde until today, Museum of Contemporary Art, Zagreb
2017 On aime l’art…!!, agnès b. collection, curated by Eric Mézil, Collection Lambert, Avignon
2017 Planet 9, Kunsthalle, Darmstadt
2017 Symptoms of Society curated by Alenka Gregoric, Guangdong Museum of Art, Guanzhou
2017 Les Femmes s’en mêlent Revisited : Facts & Fantaisies, curated by Stéphane Amiel and Marie
2017 Magnier, Galerie Les Filles du Calvaire, Paris
2017 Formes cinématographiques, Patricia Dorfmann Gallery, Paris
2016 Alineamientos, La Balsa Arte, Bogotá
2016 Vivre! – La collection agnès b., curated by Sam Stourdzé, Musée National de l’Histoire de l’Immigration, Paris
2016 Schnittschnitt, Kunsthalle, Darmstadt
2016 The Pleasure of Love, curated by David Elliott, The 56th October Salon, Belgrade
2016 Aquaréelles, Galerie Bernhard Bischoff & Partner, Bern
2016 Contemporary Thesaurus, Žana Vukičević, Museum of Contemporary Art Vojvodina, Novi Sad
2016 Who Are Your #femaleheroes?, curated by Jeanette Zwingenberger and Priska Pasquer, Priska Pasquer Gallery, Cologne
2016 Répétition, curated by Nicola Lees and Asad Raza, Villa Empain – Boghossian Foundation, Brussels
2016 Malerei als Film, Kunsthalle, Darmstadt
2016 Shape of Time – Future of Nostalgia, National Museum of Contemporary Art (MNAC),
Bucharest
2015 Fluctuat Nec Mergitur, Galerie Patricia Dorfmann, Paris
2015 Notes on the Beginning of the Short 20th Century, Emil Filla Gallery, Usti nad Labem
2015 Hommage à Malevich: Black Square Continued, curated by Mateja Podlesnik, City Art Gallery Ljubljana, Ljubljana
2015 Notes on the Beginning of the Short 20th Century, curated by Andrea Domesle and Frank Eckhardt, Quartier21, Vienna
2015 New Space/Accrochage, Priska Pasquer Gallery, Cologne
2015 Les Témoins, Centre d’art de Colomiers, Colomiers
2014 Memory of Violence – Dreams of the Future 1914-18 / 2014, curated by Sanja Kojić Mladenov, Museum of Contemporary Art Vojvodina, Novi Sad
2014 Notes on the Beginning of the Short 20th Century, Kultur Forum Dresden, Dresden
2014 4th International Canakkale Biennial, curated by Deniz Erbas, Canakkale
2014 Il s’en est fallu de peu, curated by Sandrine Wymann, La Fonderie, Mulhouse
2014 Sans tambour ni trompette, Cent ans de guerres, curated by Julie Crenn and Maud Cosson, La Graineterie, Houilles
2014 (Hi)Stories, Bernhard Bischoff & Partner Gallery, Bern
2014 Memory Lane, curated by Pierre Courtin, Galerie du Jour – agnès b., Paris
et la Peinture…?, Galerie du Jour – agnès b., Paris
2013 En-Lighted, Bernhard Bischoff & Partner Gallery, Bern
2013 Show Room One, Duplex/10m2, Sarajevo
2012 Bild-Gegen-Bild, Haus der Kunst München, Munich
2012 Subjektive Empfindlichkeiten/5 Positionen, curated by Elio Krivdi, Künstlerhaus Vienna, Vienna
2011 No Network – 1st Time Machine Biennale of Contemporary Art, D-O ARK Underground, Konjic
2008 Salon of the Revolution, HDLU – Croatian Association of Artists, Zagreb
2006 Eastern Neighbours, curated by Dunja Blazevic, Cultural Center Babel, Utrecht
2006 Memory (W)hole, Museum of Contemporary Art Banja Luka, Banja Luka

Sammlung
City of Lyon
Folkwang Museum, Essen
Hessisches Landesmuseum, Darmstadt
Jewish Museum, Frankfurt
Kunstmuseum Wolfsburg
Museum of Contemporary Art of the Republic of Srpska, Banja Luka
National Art Gallery of Bosnia and Herzegovina, Sarajevo

Privatsammlung
agnès b.
Art Collection Telekom

Veröffentlichungen
Milak, Radenko. University of Disaster. La Biennale di Venezia : MSURS, 2017. Print.
Milak, Radenko. 365. Cologne: Verlag der Buchhandlung Walther König, 2014. Print.
Dander, Patrizia and Lorz, Julienne. Bild Gegen Bild/Image Counter Image. Munich : Haus der Kunst, in association with Verlag der Buchhandlung Walther König, 2012. Print.

Auszeichnungen
2019 L’Accolade, Paris
2012 Premio Combat

Künstlerische Darstellung
L’Agence à Paris

Kunstforum, 57th Venice Biennale, March 2017

Tab 1 Tab 2 Tab 3

Radenko Milak (born 1980) analyses the role of contemporary image production in the formation of our historical and cultural memory. The Bosnian artist’s painting work centres on questions relating to how visual elements are fixed and stored – both in personal memories and as presented in the media of film and photography. | PRISKA PASQUER will be showcasing a representative selection of works from the period 2005 and 2014. The centrepiece of the exhibition curated by León Krempel is the 24-part series And what else did you see? – I couldn’t see everything (2010-2012).

Paintings, drawings, watercolours and – as of recently – animations are the preferred means of expression employed by Radenko Milak. He finds his material in print media and on the internet. In his watercolours and oil paintings, he transforms templates from films, reports or press images into small, intimate artistic scenarios. These in turn can trigger memories of facts and stories in the minds of the beholder but at the same time can also be seen as autonomous narratives.

The series What else did you see? – I couldn’t see everything (2010-2012) brings together painting and war photography. It is based on a press photo taken by Ron Haviv in 1992 during the Bosnian War. The shot shows an armed and uniformed soldier, sunglasses perched on top of his head and a cigarette in his hand, who is about to kick with full force a woman lying face-down on the ground. The photo from the series called “Blood & Honey: A Balkan War Journal” gave rise to extensive comments and discussions.

Milak painted this motif 24 times as a small, black-and-white oil study. The title was taken from an interview with the photographer who, when asked by a journalist what else he saw, answered: “I couldn’t see everything!” This is the precise question that is explored in Milak’s visual approach to the subject matter. What exactly is seen on the photo? Commenting on the significance of the image, Susan Sontag writes: “In fact, the photograph tells us very little – except that war is hell, and that graceful young men with guns are capable of kicking in the head overweight older women lying helpless, or already killed”.

In his painted variations, Milak circles the supposedly unambiguous photographic motif again and again. He translates the technical image into something handmade, thereby producing an imperfect similarity that throws up all its unknown elements. The solid outlines and precise details of the photograph are replaced by sensuous brushwork and an introspective look – thus providing a new way to understand the information that is conveyed.

Milak’s images highlight the mechanisms through which our historic and cultural memory is formed in the media age. In doing so, he not only looks to major historical and political narratives but also draws on a patchwork of personal, popular stories. A prime example of this is a watercolour from the Unfinished Stories series (2012-13). Created only with black pigment, the picture leads the beholder into a small room directly in front of a large window that takes up almost the whole picture. Through the right-hand window casement, one looks out onto a blurred cityscape with apartment blocks and implied green spaces; the left-hand one is covered by a half-transparent curtain. Positioned at an angle in front of this is a small television set that has been turned on. It is not clear whether the watercolour is based on a film still or whether the image recreates a situation actually seen by the artist. The scene also calls to mind a classic subject of 19th century interior painting. In this contemporary “window picture”, Milak explores the state of modern individuals and their relationship, as seen through their eyes, with the outside world – which, through television, has already penetrated their intimate space.

Radenko Milak
Radenko Milak, born in 1980 in Travnik in the former Yugoslavia, lives and works in Banja Luka, Bosnia and Herzegovina. Studied at academies in Banja Luka and Belgrade, group exhibitions in Paris, Munich, Vienna, etc. Works included in the following collections: Deutsche Telekom Art Collection; Agnès B., Paris; National Gallery of Bosnia and Herzegovina, Sarajevo; Museum of Contemporary Art of the Republic of Srpska in Banja Luca, etc.

As of 17 November 2014, the Kunsthalle Darmstadt exhibition hall presented the first ever institutional individual exhibition of Radenko Milak’s work with 365, his largest project to date. To coincide with this, the Walther König publishing house issued a publication with essays by Jonathan Blackwood and Branislav Dimitrijevic.

Education
Faculty of Fine Arts, University of Art Belgrade, Belgrade, Serbia, 2007
Academy of Art, University of Banja Luka, Bosnia and Herzegovina, 2003

Solo exhibitions (selection)
2019 Radenko Milak, Endless Movie, Museo Claustro de San Agustin, Bogota2017 Radenko Milak, 14/09/XX, Christine König Galerie, Vienna
2017 Radenko Milak, From the far side of the moon, Priska Pasquer Gallery, Cologne
2017 Radenko Milak, University of Disaster, Radenko Milak with international guests, curated by Christopher Yggdre, Sinziana Ravini, Fredrik Svensk, Anna van der Vliet, Pavilion of Bosnia and Herzegovina, at 57th International Art Exhibition, La Biennale di Venezia
2016 Radenko Milak, curated by León Krempel, Rutger Brandt Gallery, Amsterdam
2016 Radenko Milak,Promise of an Image, Galerie Les Filles du Calvaire, Paris
2015 Radenko Milak, University of Disaster & Endless Movie, Galeria La Balsa Arte, Bogota
2014 Radenko Milak, 365 – Image of Time, Kunsthalle, Darmstadt
2014 Radenko Milak, Big Time, curated by León Krempel, Priska Pasquer Gallery, Cologne
2014 Radenko Milak, Unfinished Story, Patricia Dorfmann Gallery, Paris
2012 Radenko Milak, I Have Said Too Much I Have Not Said Enough, Duplex/100m2, Sarajevo
2012 Radenko Milak, And What Else Did You See? – I Couldn’t See Everything!, curated by Branislav Dimitrijević, Museum of Contemporary Art, Belgrade, Belgrade
2006 Radenko Milak,Intimacy of Planetary Experience, Museum of Contemporary Art Banja Luka, Banja Luka

Solo Exhibitions of Dates, a joint project with Roman Uranjek
2019 Radenko Milak & Roman Uranjek – Dates 9, Ani Molnár Gallery, Budapest
2018 Radenko Milak & Roman Uranjek, FACING GAÏA, Christine König Galerie, Vienna
2016 Radenko Milak & Roman Uranjek – Dates 7, curated by Ani Molnár, Galerija Fotografija, Ljubljana
2016 Radenko Milak & Roman Uranjek – Dates 6 (Historical Encounters), Krank Art Gallery,
Istanbul
2016 Radenko Milak & Roman Uranjek – Dates 5, curated by Tevž Logar, Eastwards Prospectus Gallery, Bucharest
2016 Radenko Milak & Roman Uranjek – Dates 4, Duplex/100m2, Sarajevo
2016 Radenko Milak & Roman Uranjek – Dates 3, curated by Zoran Đaković Minniti , The Cultural Centre of Belgrade, Belgrade
2015 Radenko Milak & Roman Uranjek – Dates 2, Museum of Contemporary Art, Zagreb
2015 Radenko Milak & Roman Uranjek – Dates 1, curated by Dr. Sc. Sarita Vujković, Gallery of Matica Srpska, Novi Sad

Group exhibitions (selection)
2019 Sans Tambour ni Trompette, cent ans de guerre, Faux Mouvement, Metz
2019 Listen to Us – Artistic Intelligence (from the Deutsche Telekom Art Collection), Plovdiv
2019 One Hundred Worlds. Kunstmuseum Wolfsburg. The Collection, Kunstmuseum Wolfsburg
2019 Hyper! A journey into art and music, Deichtorhallen, Hamburg
2018 Kochi Muziris Biennale 2018, Kerala
2018 57th October Salon, Belgrade City Museum, Belgrade
2018 The Studio, Kampala Art Biennale 2018, Kampala
2018 CUT / REZ – Examples of collage in artistic practices in Central and Eastern Europe from the Avantgarde until today, Museum of Contemporary Art, Zagreb
2018 Avantgarde until today, Museum of Contemporary Art, Zagreb
2017 On aime l’art…!!, agnès b. collection, curated by Eric Mézil, Collection Lambert, Avignon
2017 Planet 9, Kunsthalle, Darmstadt
2017 Symptoms of Society curated by Alenka Gregoric, Guangdong Museum of Art, Guanzhou
2017 Les Femmes s’en mêlent Revisited : Facts & Fantaisies, curated by Stéphane Amiel and Marie
2017 Magnier, Galerie Les Filles du Calvaire, Paris
2017 Formes cinématographiques, Patricia Dorfmann Gallery, Paris
2016 Alineamientos, La Balsa Arte, Bogotá
2016 Vivre! – La collection agnès b., curated by Sam Stourdzé, Musée National de l’Histoire de l’Immigration, Paris
2016 Schnittschnitt, Kunsthalle, Darmstadt
2016 The Pleasure of Love, curated by David Elliott, The 56th October Salon, Belgrade
2016 Aquaréelles, Galerie Bernhard Bischoff & Partner, Bern
2016 Contemporary Thesaurus, Žana Vukičević, Museum of Contemporary Art Vojvodina, Novi Sad
2016 Who Are Your #femaleheroes?, curated by Jeanette Zwingenberger and Priska Pasquer, Priska Pasquer Gallery, Cologne
2016 Répétition, curated by Nicola Lees and Asad Raza, Villa Empain – Boghossian Foundation, Brussels
2016 Malerei als Film, Kunsthalle, Darmstadt
2016 Shape of Time – Future of Nostalgia, National Museum of Contemporary Art (MNAC),
Bucharest
2015 Fluctuat Nec Mergitur, Galerie Patricia Dorfmann, Paris
2015 Notes on the Beginning of the Short 20th Century, Emil Filla Gallery, Usti nad Labem
2015 Hommage à Malevich: Black Square Continued, curated by Mateja Podlesnik, City Art Gallery Ljubljana, Ljubljana
2015 Notes on the Beginning of the Short 20th Century, curated by Andrea Domesle and Frank Eckhardt, Quartier21, Vienna
2015 New Space/Accrochage, Priska Pasquer Gallery, Cologne
2015 Les Témoins, Centre d’art de Colomiers, Colomiers
2014 Memory of Violence – Dreams of the Future 1914-18 / 2014, curated by Sanja Kojić Mladenov, Museum of Contemporary Art Vojvodina, Novi Sad
2014 Notes on the Beginning of the Short 20th Century, Kultur Forum Dresden, Dresden
2014 4th International Canakkale Biennial, curated by Deniz Erbas, Canakkale
2014 Il s’en est fallu de peu, curated by Sandrine Wymann, La Fonderie, Mulhouse
2014 Sans tambour ni trompette, Cent ans de guerres, curated by Julie Crenn and Maud Cosson, La Graineterie, Houilles
2014 (Hi)Stories, Bernhard Bischoff & Partner Gallery, Bern
2014 Memory Lane, curated by Pierre Courtin, Galerie du Jour – agnès b., Paris
et la Peinture…?, Galerie du Jour – agnès b., Paris
2013 En-Lighted, Bernhard Bischoff & Partner Gallery, Bern
2013 Show Room One, Duplex/10m2, Sarajevo
2012 Bild-Gegen-Bild, Haus der Kunst München, Munich
2012 Subjektive Empfindlichkeiten/5 Positionen, curated by Elio Krivdi, Künstlerhaus Vienna, Vienna
2011 No Network – 1st Time Machine Biennale of Contemporary Art, D-O ARK Underground, Konjic
2008 Salon of the Revolution, HDLU – Croatian Association of Artists, Zagreb
2006 Eastern Neighbours, curated by Dunja Blazevic, Cultural Center Babel, Utrecht
2006 Memory (W)hole, Museum of Contemporary Art Banja Luka, Banja Luka

Collections
City of Lyon
Folkwang Museum, Essen
Hessisches Landesmuseum, Darmstadt
Jewish Museum, Frankfurt
Kunstmuseum Wolfsburg
Museum of Contemporary Art of the Republic of Srpska, Banja Luka
National Art Gallery of Bosnia and Herzegovina, Sarajevo

Private Collections
agnès b.
Art Collection Telekom

Publications
Milak, Radenko. University of Disaster. La Biennale di Venezia : MSURS, 2017. Print.
Milak, Radenko. 365. Cologne: Verlag der Buchhandlung Walther König, 2014. Print.
Dander, Patrizia and Lorz, Julienne. Bild Gegen Bild/Image Counter Image. Munich : Haus der Kunst, in association with Verlag der Buchhandlung Walther König, 2012. Print.

Awards
2019 L’Accolade, Paris
2012 Premio Combat

Artistic Representation
L’Agence à Paris

Kunstforum, 57th Venice Biennale, March 2017

FIELDS OF EMOTIONAL HABITS, Albrecht Schäfer – Radenko Milak

Radenko Milak
FROM THE FAR SIDE OF THE MOON

Who Are Your #femaleheroes?

RADENKO MILAK, BIG TIME | curated by León Krempel