Books

The Age of Total Images, Institute of Network Cultures, Amsterdam, 2019.

Fotografija kao dokaz, Multimedijalni centar, Zagreb, 2018.

Culture of the Selfie : Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Amsterdam, 2017.

COMING SOON: Translation to Croatian by Ognjen Strpić, for Jesenski i Turk

Edited readers

Smuggling Anthologies, Museum of Modern and Contemporary Art, Rijeka, 2015.

Victims Symptom - PTSD and Culture,Institute for Network Cultures, Amsterdam, 2009.

Žena na raskrižju ideologija, HULU Split, 2007.

Chapters (selection)

‘Phototopia - (re)geneating life from photographs. Generative Adversarial Networks and “people that do (no longer) exist”’ in Julia Urabayen and Jorge León Casero (eds). No Future Now: Reutopia and Dystopia in a post-apocalyptic politics, Palgrave Macmillan, 2022.

‘Autografija’, Bernd Herzogengracht (ed.) Concepts, Bloomsbury. Due December 2022.

‘‘Photogenetics and Generative Adversarial Networks’, Helen Tomas (ed.), Genetic histories and Liberties Eugenics, Genetic Ancestries and Genetic Technologies in Literary and Visual Cultures, (...)

‘Painting and Postdigital photography’, Nora Benterbusch (ed.), Spotlight on Media Borders. Nomos Verlag (Comparative Media and Cultural Studies), 2022.

‘Selfies controlling dreadful images’, Ali Shobeiri and Helen Westeest (eds.), Psychosomatic images: Photographic reflections on Mental Disorders, Palgrave Macmillan, Due 2022.

'Large datasets and particularity of Art', Kwok Kad (ed.) Digital culture and humanities, Springer, 2022.

‘Genotype, Phenotype, Phototype: Digital Photography, biological variety, and excessive overpopulation of types’, Luke Bergmann et al (eds.) Routledge Digital Environmental Humanities Handbook, Routledge, 2022.

‘Selfies as augmentation of (disappearing) reality’, The Aesthetics and Politics of The Online self, eds. Peter Serram, Teresa Numerico, Geert Lovink and Donatella della Ratta, Palgrave MacMillan, 2021. DOI: 10.1007/978-3-030-65497-9_12

‘Reality effect of [abstract] maps in post-digital era’, Kresimir Purgar (ed), The Iconology of abstraction - Non-Figurative Images and the Modern World’, Routledge (2020).

(with Petar Jandrić, Ana Kuzmanić), Interview with Kathy Rae Huffman - Curating with Heart and Reason, Petar Jandrić (ed), Learning in the age of Digital Reason, Sense Publishers, Amsterdam, 2017 , 299-331. Republished (with Petar Jandrić and Ana Kuzmanić) Interview with Kathy Rae Huffman : Curating digital art with heart and mind’, N Paradoxa 40 (July 2017)

Victims Symptom - PTSD and Culture, Institute for Network Cultures, Amsterdam, 2009. Translated to Russian Simptome Zrtvi, in: Ionesov, Vladimir (ed.) Transformations, Risks, Crisis, Adaptation Samara: Samara Scientific Centre for Cultural Studies, 2009, 165-176. Translated to Turkish; War Profiteers in art, in: Madra B. (ed.) Afterall : Focusing on global biennale and curatorial practices / Herseydensonora: Küresel etkînlîklere bakis ve kuratoryal deneyimler, Istanbul: Minar Sinan Güzel Sanatlar Üniversitesi Yayinlari, 2008, 40-6.

Žena na raskrižju ideologija, HULU, Split, 2007. Translated (English): Woman at the crossroad of ideologies, Marina Gržinic and Rosa Reitshamer (eds.) New feminism, queer and networking conditions. Vienna: Erhard Loecker Verlaag, 2008, .201-15. Republished (Parts in English and Italian) as; On Woman @ The Crossroad Of Ideologies in Carbi, G. (ed.) Third CEI Venice forum for Contemporary Art Curators - Proceedings of Continental Breakfast. Outposts : Trieste Contemporanea, Central European Initiatives, Trieste, 2008, 47-52.

‘Merely a Photographer’, Milevska: Renaming Machine, P.A.R.A.S.I.T.E, Ljubljana, 2008.

‘Corruption of a Grand Narrative of Arts’. IRWIN (eds.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, 472-7.

‘Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x’’. IRWIN (eds.) East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, 163-74.

‘Citation, falsification, expropriation (East and West from the original)’, in; Klobučar N. and Karabogdan G. (eds.), Enigma objekta / Enigma of an object, Rijeka: Muzej moderne i suvremene umjetnosti Rijeka, 2006, 80-7.

Encyclopedia entries

'Photography', The SAGE International Encyclopaedia of Mass Media and Society, Debra L. Menskin (ed), 2019.

‘Commodification of Culture’, The SAGE International Encyclopedia of Travel and Tourism, Linda L. Lowry (ed) DOI: http://dx.doi.org/10.4135/9781483368924.n111

'Culture Shock' In: The SAGE International Encyclopedia of Travel and Tourism, Linda L. Lowry (ed) DOI: http://dx.doi.org/10.4135/9781483368924.n128

Peer-reviewed articles

'Anthropocentrism and solipsism in photographic self-portraits of Edvard Munch, Photographies 12(2), 2022. DOI: 10.1080/17540763.2022.2060287

The Work of Art in the Age of Neural Reproduction, Art Documentation Journal 40(2), DOI: 10.1086/717074

‘Photographocene: The past, present and future in photography of the environment’, Philosophy of Photography, 2021 11(1).

'Stolen Faces', Lexia (37-38 Artificial Faces, 2021): 455-467.

‘The specificities of intermediality of painting and technology of photography: Some theories and examples’, Creative Economics and Social Inovations 2 (11, 2015), 11-23. Translated to Russian: ‘Intermedijalnost živopisi i tehnologii fotografii: obzor teorii i primerov’, Modernizacija kulturi, Samara Kultural centre, 2015, 53-63

‘Exploitation of victims desire for revenge‘, Leonardo 1 (44, 2011): 55-60. Republished to Croatian; O umjetnosti osvete i eksploataciji smrti : Žrtve u razmjeni politicka iskorištavanja i politike osvete, Vizura 3-4 (2008), 18-25.

‘‘Selfie’ as the Paradigm of Cultural Change’, Creative Economics and Social Inovations 2 (7, 2014), 10-22.

‘Mind the film’: Photographs and films with lost narratives. Afterimage 37 (2/2009), 45-49.

Conference proceedings

'Face-Mockers, Face-Shifters and Face Swappers: agency and personal identity in portrait photography today', Dark Eden conference Proceedings, Art+Australia, 2021.

‘From Sociocentric to Egocentric Place’, Geert Lovink and Andreas Treske (eds.) 12. Videovortex #14, Institute of Network Cultures, 2020, 96-103.

‘From Anthropological to Ethnological Approach in Photojournalism', in; Ljiljana Kolešnik and Tamara Bjažić Klarin, French Artistic Cultures, Institute of Art History, 2017, 264-278

‘Mass Spamming’, in; Tom Medak and Petar Milat (eds.), Idea of Radical Media, Multimedijalni institut, Zagreb, 2013, 236-253.

‘Chauvinist And Elitist Obstacles Around Youtube And Porntube’, in; Lovink Geert. and Niederer Sabine (eds.), Video Vortex #12, Institute for Networked Cultures, Amsterdam, 2008, 189-96. Republished: ‘Chauvinist And Elitist Obstacles Around Youtube And Porntube Politics of feelings / Economies of Love in Nataša Bodrožic (ed.) Loose associations, 2014

‘Censored Images: Women in the Army’, Censored Images, Performative Gestures - Political Movements, Red Athena University Press, Zagreb, 2010. 139.-148.

‘The aesthetics of the negative or; the negative dialectics of photography‘ Journal of Physics.: Conference serial. Ser. 2010, 231 012013, DOI: 10.1088/1742-6596/231/1/012013

‘On Indifference, Inhabiting In-Between As A Territory’ / O indiferenciji], Con/Front! Kessi A, Miraztchiev E, Sevova D. (eds.), Communication Front 2000 international project of electronic and media art and cultural Crossing Points East – West. Plovdiv: Art Today Association, 2002, 17-8.

(with Lovink G.), ‘Con/Front! Radio-Active Ideological Junk [Second Hand Truths About East And West]’ / ‘Kon/front’, u; Kessi A, Miraztchiev E, Sevova D. (ed.). Communication front 2000, international project of electronic and media art and cultural Crossing Points East – West. Plovdiv : Art Today Association, 2002, 20-3.

‘A Place Where Everything Has a Sense’. Melentie Pandilovski & Bojan Šarkacevic (ed.). Understanding the Balkans Conference. Skopje : CAC, 2002, 64-70.

‘The making and unmaking of para-history: or from photomontage to digital sabotage’. Issues in Contemporary Arts and Aesthetics

Magazine artices

'Selfies and the World Behind our back', Memberana 4 (2018): 48-54.

‘Self-Portrait Hanging between Personal and Social Grimace’, Membrana 2(2017): 88-90.

‘Sublimno in fotografija’, Fotografija 60/61 (2014), 46-52.

‘Kriptofotografija in metasistemi fotografskih slik’, Fotografija 50/51 (2012): 41-52.

‘Šezdesetinka sekunde za slavo’, Fotografija 49/50 (2012): 46-50.

‘Strah pred negotovim in velike oci fotografije’, Fotografija 44/45 (2011): 15.-25.

Translated to Croatian 'Strah od neizvjesnog i velike oči fotografije', Krešimir Purgar (ed.): Kritika / teorija / pojmovi u novoj hrvatskoj umjetnosti, Kontura, Zagreb, 2017.

‘Smugglein’, Springerin 2 (2009): 13-15. Commercialisation of images of Revolution (1968-2008), Pavilion 12 (2009): 78-86

‘Morgante’, Eyemazing (Spring, 2011); 72.-78.

‘Photography, truth and metaphysics’, Eyemazing (Summer, 2011): 50.-59.

‘Time travel and photographic negatives ‘, Art and Education Papers 2011. Translated to Croatian: ‘Putovanje kroz vrijeme’, Svjetovi fotografije, ULUPUH, 2012 Republished: ‘Putovanje kroz vrijeme i fotografski negativi’, in Kontejner (ed.) Teorija postnegativnog svijeta, Ekstravagantna tijela: Ekstavagantne godine, Kontejner, Zagreb, 2013. 294-295 + 295-306.

‘AVI-und DivX Kunst’. Springerin 2 (2007): 9-10. Republished: 'AVI-und DivX Kunst Videokunst am Rande des Uberlebens’. Documenta magagzine http://magazines.documenta12.de/frontend/article.php?IdLanguage=5&NrArticle=1363’

‘Ein Wandel in der Repräsentation des Arbeiters Vom Sozialistischen Realismus zum ‘Soros-Realismus’’ Springerin 3 (11, 2006): 30-2.

‘Auf nach Sarajevo, Ferdinand! Symptome des ‘Wienerischen’ und/oder des ‘Balkan’ in der gegenwärtigen Kulted’ Springerin 2 (12, 2005): 38-40.

‘Leere Podeste’ Springerin 1 (11, 2005): 28-30. Translation to English: ' Empty Pedestals', Pavilion 10-11 (2007): 142-8.

‘Medien von Gericht’, Springerin 4 (10, 2004): .26-30.

‘Ostereuropische ©opymanie‘. Springerin 2 (10, 2004): 26-30

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