Mirjana Rukavina’s point of departure is the experience of the malfunctioning body in the relation to the lust of pain. The prosthesis added to the body and the prosthesis being a body in itself, take a central part in her reevaluation of power and the image. Rukavina, herself performing in the video, is forced to model her body’s gestures in relation to the metal armor worn for corrections of scoliosis and the water heavily pouring onto her head. She is representing, what I call, the frigid, out of control and perverted core of our imagination. Rukavina is perfect as the psychotic unhappy medieval princess, projecting an introverted personality fanatically devoted to a proper malfunctioned body. In the video work she displays for us a cathartic outlet through a proper anger and malevolence.
Marina Gržinić, Zero Visibility of the reverse order, Maska, Ljubljana 2003
Mirjana Rukavina, Milwaukee, 1999
Five-channel video installation, one audio channel, 15:45min (loop), color, sound, dimensions variable, videoperformance

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