NADA KAŽIĆ, born 1963. in Nikšić. Graduated on Faculty of Fine Arts in Nikšić. Exhibited on many one person exhibitions and many group exhibitions in Montenegro and abroad.
She is a member of ULUCG..
2004.”Royal Palace of King Nikola”-Nikšić
2000.Small Art Saloon-Novi Sad
2009.I award-Contemporary Montenegrin Sculpture
2008.I award-Saloon of Podgorica
2006.I award-Saloon of Podgorica
2005.Special award for miniature,by International Biennial of Miniature Art,Nikšić
2005.I awar for souvenir,Ministry of Culture,Podgorica
1996.Grand Prix for Design for Ceramic collection”Abstractionas of Montenegro”- Novi Sad
Breaking stereotypes, searching for identity, redefining myths and archetypes of a patriarchal culture, are all in the focus of various artistic discourses applied by conceptual and neo-conceptual female artists, who most often use their own body as an object of art. These practices, as well as feminist theories, are not entirely foreign to the Montenegrin artist Nada Kažić because the body, and the female body to that, is one of the key topoi of the artist’s insight into the world - although their genesis takes place from entirely different positions. Instead of the explicit representations of the body, or the body as the site of an artistic intervention, the Montenegrin artist structures her ars poetica on its manifestational absence, sublime objects which emanate this absence, sharing Baudrillard’s belief that the only reality is the one constituted by a play of symbols. The position, role and place of these objects-symbols in Kažić’s quest for the woman’s lost identity through layers of time, resemble Proust’s madeleines – they are some kind of detonators which she uses to set into motion, intertwine, question, signify, anticipate, bring back a multitude of ambivalent impressions, memories, sensations, emotions…
The huge, sublime, Kažić’s personalized stigmata of the Woman – The Absent Invisible Subject, is the shoe, both in the works from the OFE(i)LI JA cycle (the writings on female fragility) and in the new GAZIPOLJKE. The character of Shakespeare’s Ophelia implies various dimensions: love, confusion, endurance, fear, suffering, which lead into madness and death. Ophelia - as the passive principle, is a pretext to Nada Kažić’s shoe objects placed in wire cages. The high heel shoes made of fired ceramic, by virtue of their morphology and inventive material, anticipate a drama of self-destruction, breakdowns, all of the tragism of her destiny. The pale clay implies the feminine complexion, while the bloody traces of red colour signify wounding, pain and death. Materials being used are the aluminium wire - flexible and expressive, special in structure, energy and tactility, silverish, used in combination with the super opposed clay, which makes that physis transforms into poesis.