ABOUT
BOGINYA
VON ART.
Multidisciplinary artist, performer and artivist transforming lived experience into a language of body, memory, ritual and presence.
PRACTICE
MY PRACTICE IS
A DIALOGUE WITH
MYSELF IN FRONT
OF OTHERS.
I work across performance, image, sound and text, using the body as both material and a site of inquiry.
My practice grows from lived experience, where the personal, political and performative continuously intersect.
Rather than providing answers, I create situations in which identity can be questioned, reconstructed and performed - remaining unstable, unfinished and alive.
BACKGROUND
A LANGUAGE BUILT
ACROSS IMAGE,
COSTUME AND SPACE.
Before my current artistic practice took shape, I spent many years working across fashion, photography, costume, visual storytelling and direction.
I created images and characters, worked with public personas and personal narratives, and later developed large-scale immersive and performative environments.
That experience taught me to think beyond a single medium: how a body occupies space, how costume alters perception, how an image constructs a character, and how an audience becomes part of a situation.
Over time, these tools stopped belonging to separate professional disciplines. I reworked them into an artistic language in which direction, composition, costume, space and presence operate as parts of one practice.
BODY / PRESENCE
I AM HERE.
PRESENCE IS ALREADY
PART OF THE WORK.
My work often begins with presence: a body occupying a space, entering a process, remaining in a state or passing through it.
I am interested in what the body remembers and carries, and in the ways experience continues to exist physically - through gesture, repetition, tension, endurance and change.
I do not always try to represent these states from the outside. Sometimes the work is the process itself: being present, staying with what is happening, and allowing the experience to unfold.
RITUAL
REPETITION CHANGES
THE MEANING
OF AN ACTION.
Ritual enters my work not as decoration or belief, but as a structure for attention.
Repeating an action, following a sequence or returning to the same gesture can move an ordinary act into another register - somewhere between the everyday and the symbolic.
I am interested in duration, preparation, rules and the moment when an action stops being only functional and begins to produce its own time.
The ritual may be private, staged, improvised or public. What matters is the commitment to the action - and what changes through carrying it out.
FROM I TO WE
THE PERSONAL
BECOMES A WAY
INTO SOMETHING LARGER.
My work often begins with my own experience, but autobiography is never its destination. It is a point of entry.
Rather than explaining a wider condition from a distance, I invite the audience into an experience - through presence, duration, repetition and ritual.
The personal creates proximity: something abstract becomes embodied, immediate and more difficult to remain outside of.
What begins as one story can reveal something collective. An individual experience opens onto realities shared by many others, connecting the intimate to wider social structures and conditions.
I am interested in this movement from I to we - when personal experience becomes a space in which others can recognise, question or locate themselves.
ARTIVISM
ART DOES NOT END
WHERE THE ART SPACE
ENDS.
For me, artivism is not the addition of activism to art. It is the point at which an artistic gesture enters public space and begins to act within the reality around it.
A performance can become an intervention. A body can interrupt an expected image. A costume, gesture or presence can alter the meaning of a place simply by appearing there.
I am interested in art that does not only represent a position, but physically occupies one - creating visibility, friction and encounter in spaces that are shared, regulated and contested.
Sometimes the work enters a gallery. Sometimes it enters the street. The artistic language remains the same; what changes is what it comes into contact with.