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MANÇA BAJEC  PhD Candidate, Royal College of Art
 

Manca Bajec is an artist and writer whose multidisciplinary work is situated in the field of space/time, memory and sociopolitical studies. Completing a BA at the Academy of Fine Art in Venice, she continued her studies in Ljubljana while working in theaters as a stage designer and performer. In 2010 she completed an MA in Curating at University of the Arts in London, focusing on memory and monument building. She was nominated for the emerging artist ESSL Award in 2010 and was an Ashley Family Foundation Fellow in 2011. Bajec has spoken at conferences worldwide and is a visiting lecturer at the Royal College of Art this year. She has exhibited and published her work across Europe including recently for Eros Press and Mnemoscape.

She is currently a PhD candidate at the Royal College of Art conducting research on destruction of monuments. Bajec who grew up in the Middle East, now lives and works in London.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

victims of different cultures and the act of ‘othering’ the victim because of their non-relation to the west, therefore not carrying similar values, culture andperhaps questioning whether this de-valuing in turn becomes an adapted method of coping with the civilian deaths of ‘other’ cultures. Could this also be a way of instigating further hatred and in dehumanizing the other, making their individual lives less important. Much like the act of use of mass graves, the removal of someone’s individuality, making them part of a mass, a herd, in a way animalizing the individual, and removing the relevance of the singular, sole existence.

 

"Not in my name, will someone remain unnamed"

 

Photography: From No fault of Theirs

 

 

"What's in a name?"

 

Her performance is related to the act of naming. It discusses the problem of individualizing the victim and how the practice of naming certain victims and not others has led to the discrimination and dehumanization of victims. It will even go further to discuss the approximation of victims’ numbers when referring to some conflicts and the precision of numbers of victims when referring to other conflicts. The performance would critically observe this act as it has appeared in media in the past decades and how this has been reflected in memorial work.

The performance will open a dialogue into the behavior and patterns of western attitudes towards 

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