Snežana Zlatković — Contemporary Art Curator Magazine

Jun 4

Jun 4 Snežana Zlatković

Biography

Snežana Zlatković, born in Belgrade, Yugoslavia (1988), graduated from the Faculty of Architecture in Belgrade (2012) where she is currently pursuing her doctoral studies and working as an assistant at the Department of Architecture (since 2018). She has worked as a designer in various architectural offices (since 2014). Her PhD research is focused on drawing as a methodological tool for reading the urban landscape. She founded the studio sz.dar (Drawing Architecture Research, 2017) with the aim to explore drawing through theoretical and artistic work. Her drawings were selected and published in Drawing Futures Book (The Bartlett School of Architecture, UCL, 2016) as well as awarded at Drawing of the Year (Aarhus School of Architecture, 2016), RIBA Eye Line Drawing Competition (2017), STRAND (2016, 2018, 2020), INDEF (2020), My Cityscape Competition (2021), etc. Finalist of Royal Art Prize 2018 and Ken Roberts Memorial Delineation Competition 2019. Representing Serbia at the Venice Architecture Biennale 2021, as a team member of eight architects (MuBGD).

Artist Statement

The proposed methodological layers of drawings explore the immaterial and (in)visible aspects of city plans transformations. First part of our analysis focuses on the questions of perception of existing spatial plans conflicts. By analyzing and defining the principles of constant changes within the city, we try to decode dynamic and static (in)visible qualities of each moment. Using both analogue drawing techniques and digital image processing brings new opportunities for analysing the complex and chaotic network of cityscape transformations, both working together to make them readable. Architecture makes invisible qualities of the environment to become visible. This relationship between the intuitive trace of a hand and the mechanised processes of digital tools provides our drawn methodology with comprehensive tools to encode any transformation using these techniques. The study of spatial conflicts that are not directly visible through drawing stimulates new points of view and new analysis. While there is still something incomplete in the analysis when we draw purely by hand, there are many computer techniques that could upgrade these drawings to new levels of information; so that drawing becomes a critical tool to extract and explain the potentials of the layers of our cities that conventional tools may not address.

Website https://www.szdarstudio.com/

Instagram https://www.instagram.com/sz__dar/

Facebook Snežana Zlatković