Untitled Document

installation, Ballhaus Duesseldorf 1996
18 collages foil curtains (each 450 x 100 cm)
© Photo: Egbert Trogemann

In the beginning of the war in 1992, while living in Duesseldorf, all my connections to Sarajevo were broken: to my past, family and friends.
In order to keep "ground under my feet" I started with selecting and collecting photographs from the newspaper of the former Yugoslavia.
From 1992-1996 I collected many thousands of images. In the installation in Ballhaus, thousands of newspaper clippings wallpaper
huge glass surfaces seperating the interior and exterior.

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installation, Museum Ludwig Forum fuer Internationale Kunst Aachen, Germany 1998
44.000 blue transparent plastic dice, plexiglas constraction, 730 x100 cm
© Photo: Egbert Trogemann

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installation, Obala Art Centar Sarajevo, 1997
44.000 dice, metal construction, plexiglas boards 750 x 150 x 60 cm
© Photo: Egbert Trogemann

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installation, Galerija sodobne umetnosti Celje, 2000
Walking around Sarajevo, I found 4 old film boxes in a trash container in front of the cinema "Kinoteka". I took them home and opened the boxes, finding only two small pieces of film strip with the old scratched stills from two different movies unfamiliar to me. First a still from a war-movie with the undertitle: "Anyone alive? Anybody wounded?". The other one most likely from a western movie saying: "It's no fun being stuck in a small city like this one."The incredibility of the relation between the found film stills and both the post-war Sarajevo circumstances and my personal circumstances fascinated me. Although it was real incident, I felt it like a scenario on some alternative level. The following day, having a cup of coffee with a fellow artist - Šoba, I told him what had happened and showed him what I'd found. Suddenly he started talking about how I should make an installation out of it, suggesting making huge prints of the stills I found. In the coffeeshop, I recorded Soba's suggestions on video. That's how this installation just happened to me. Well, who is the author? Sarajevo, August 1998
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		video installation Zeche Hermann, Selm 1994 © Photo: Egbert Trogemann
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video installation, 1998 Nationalgalerie im Hamburger Bahnhof, Berlin 2000 The idea of this work is to install a "speaking wall" in a certain architectural context; it brings together 64 mouths speaking, each taken in a three minute shot. People of different ages and different races are speaking to the camera in their own languages. The multitude of the voices sometimes creates a general murmur, but sometimes one sentence is singled out.
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video installation, 1999
Kunstsammlung NRW, Düsseldorf, 2000
© Photo: Egbert Trogemann

This is a self portrait by the artist. We cannot recognize her by the eyes, as is customary, but only by the narratives
uttered by two mouths. The figure is animated: the two mouths tell two different fairytales, one in German the other in
Bosnian. The stories are about changing roles, abouth truth and the deception of sensory impresions.


video installation Culhan Sarajevo, 1997 © Photo: Dejan Vekić "Madame X in wich a narrow passageway, leading from the Culhan to pedestrian street, contains a video projection of a woman's lips, mouthing words that we cannot hear or decipher. Ann example of the sublime injected seamlessly into the ordinary, the architecture of the body integrated into the architecture of the city." Michael Tarantino, catalogue of Meeting Point
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sound installation on the façade of the National Gallery of B&H, Sarajevo 1999

This sound installation (intended for passers-by) is engaged with the relation outside/inside, past/future. The work
is composed of around 800 names of artists whose works can be found in the "invisible" collection of the National
Gallery of Bosnia and Herzegovina. The scaffold on the facade of the National Gallery, aside from its real function,
is also established as a metaphor.

click to hear sound sample


1999 - ... This public art project is concerned with rethinking of our relation to the built enviroment. Over the past year I have been collecting audio recordings from people of different ages and nations singing lullabies from all over the world. I intend to make a serie of sound installations at different places in the world. The project deals with human vs. urban space by contrasting the basic intimate space of lullabies and various public urban spaces.

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sound installation The Danube bridge Novi Most, Bratislava 2000 © Photo: Egbert Trogemann
The bridge sings lullabies and becomes an architectural body for 64 human voices. The loud speakers and CD players are "seamlessly" integrated in the ceiling light sistem of the pedestrian corridor. The sound equipment is connected with the city light system, which automatically switchs on by sunset and switches off at dawn. The multitude of the voices, their melodies and the singling out of individual voices creates a complex sound structure while the pedestrian goes along the bridge. A passer-by enters an unique sound architectural enviroment, which changes as his direction through space changes. click to hear sound sample
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		by Danica Dakić and Sandra Sterle, 2001 Supported by CEC International Partners / ArtsLink NY, Animating Democracy Initiative (Ford Foundation), Trust for Mutual Understand, Kettering Fund, Ludwig Forum fuer Internationale Kunst, Aachen, etc. © Photo: Danica Dakić Go_HOME is an international public art project designed to include both European and American participants in dialogue around the meaning of "home". In September 2001 Danica Dakić and Sandra Sterle will come to New York for a fifth-month residency. The artists will establish an experimental open-door "home" in NYC linked to a virtual home on the Internet. By translating domestic space into a creative forum for art-making and dialogue, the project examines from multiple perspectives immigration and physical, psychological and cultural dislocation.
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