Doplgenger * is an artist duo Isidora Ilić and Boško Prostran from Belgrade (ex-Yugoslavia). Doplgenger engages as a film/video artist, researcher, writer and curator. The work of Doplgenger deals with relation between art and politics through exploring the regimes of moving images and modes of its reception. They deconstruct the film medium, language, structure and notions of text in order to discover the ways in which art/moving images participate in creating political reality. They rely on the tradition of experimental film and video and through some of the actions of these traditions intervene on the existing media products or produce in the film-essay form. Although their main media is moving image, their work is realized through the text, installations, performances, lectures and discussions. All of these media are treated in their materiality and in relation to other media, and as the carriers of meaning structures through which the social and political reality is structured.
Doplgenger’s works have been part of exhibitions and programs at Kunstmuseum Bonn, Centre Pompidou Paris, Fundació Antoni Tàpies Barcelona, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Zagreb, Anya and Andrew Shiva Art Gallery New York, Osage Gallery Hong Kong, Museum of Contemporary Art Vojvodina, Gallery of Fine Arts Split etc. Their films were screened and included in official selections at International Film Festival Rotterdam, Seattle International Film Festival, Kassel Documentary Film and Video Festival, Festival des cinémas différents et expérimentaux de Paris, Cairo Video Festival, VideoEX Zurich, Videoformes Clermont-Ferrand, Images Contre Nature Festival Marseille, Alternative Film-Video Festival Belgrade etc.
Doplgenger is the recipient of the prestigious Serbian Politika Award for the best exhibition in 2015.
Download Curriculum Vitae: Doplgenger CV (January 2017)
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* It is Serbian transcription for Doppelgänger, the German word, which is the usual literary term for common phenomenon of double and which literally means “double-goer”. It was brought into the literary tradition by the novelist Jean Paul (Richter), who defined it in 1796.
The “value” of the double has seemed to reside in its resistance to definition, in its “escapist” qualities, in the possibility it offers to the individual to imagine his/her self and reproduce himself in endless ways. Döppelganger articulates the experience of self-division, externalization of part of the self, makes one feels as him/herself and the other at the same time, it is “a replica of one’s own unknown face.”
Doppelgänger is a stranger, a foreigner, an outsider, a social deviant, anyone whose origins are unknown or who has extraordinary powers, tends to be set apart as evil. The double is defined as evil precisely because of its difference and a possible disturbance to the familiar and the known. It defines space outside the dominant value system. It is in this way that the double traces the unsaid and unseen of culture: that which has been silenced, made invisible, made “absent”. It threatens to dissolve dominant structures, it points to or suggests the basis upon which the cultural order rests – the unified individual.