{"id":14213,"date":"2026-05-04T20:59:28","date_gmt":"2026-05-04T20:59:28","guid":{"rendered":"https:\/\/vagon.gallery\/?post_type=izlozbe&p=14213"},"modified":"2026-05-04T21:08:04","modified_gmt":"2026-05-04T21:08:04","slug":"radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila","status":"publish","type":"izlozbe","link":"https:\/\/vagon.gallery\/en\/izlozbe\/radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila\/","title":{"rendered":"I would rather die than sin, I would rather die than sin, I would rather die than sin."},"content":{"rendered":"
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\u201c\u2018Do you want to be a martyr?\u2019 Gabe asked, raising his eyebrows.\u201d
\u201c\u2018I guess. Yes, actually. Something like that.\u2019\u201d
\u201c\u2018Cyrus,\u2019 Gabe said with a smile, \u2018you can\u2019t even wash your own dirty laundry.\u2019 He nodded toward Cyrus\u2019s shirt, wrinkled and splattered with coffee stains around the collar. \u2018You think you\u2019ll be able to strap a bomb to your chest and walk into a caf\u00e9?\u2019\u201d
\u201cMartyr!\u201d, Kaveh Akbar<\/p>

A part of the dialogue, taken from the novel \u201cMartyr!\u201d, brought me back to a conversation with an artist who, alluding to her work \u201cI would rather die than sin\u201d, spoke ironically about martyrdom complexes, placing her own face in the context of Joan of Arc. In the discussion about the work, she says: \u201cWe turn ourselves into great victims. You are far from Joan of Arc; you are not at the stake, this is a YouTube little fire.\u201d
In an approach full of humor, light execution, irony, and a skillful representation of models of self-contempt, Jana Jova\u0161evi\u0107 raises a multitude of questions about everyday overloads, the martyrdom complex and rumination, as well as about artificial methods of resistance that are also present in our daily lives.
Jova\u0161evi\u0107 operates with self-criticism that is both a tool and a subject of this exhibition. Through a lightness that is not escapism but a conscious strategy of confronting generational rigidities and social conventions in which we participate, often against our own will, the works function as self-portraits that are de-sexualized, exposed, and ridiculed, turning one\u2019s own face into a product of prohibition, an object of contempt, or a heroine whose suffering is comically inadequate.<\/p>

In the work *\u201cI would rather die than sin\u201d*, the artist situates herself in the context of Joan of Arc, a heroine who made large, dramatic decisions for freedom and rights, in contrast to the contemporary paralysis of micro-decisions that characterizes our society. How frightened are we of ourselves? To what extent do we intellectualize things to the point where it prevents us from acting? Jova\u0161evi\u0107 argues that we turn ourselves into martyrs in situations far removed from the stake; most often, it is a performance of suffering, self-pity wrapped in the aesthetics of resistance.\n\nAudre Lorde, in her work *\u201cA Burst of Light\u201d*, introduces something that would today become the concept of self-care, distorted and commodified in relation to its original context. \u201cCaring for myself is not self-indulgence; it is self-preservation, and that is an act of political warfare.\u201d Today, this idea, originally tied to techniques of resistance for both communities and individuals, and to caring for oneself as an act of defiance against capitalist pressure demanding constant productivity, has become part of a \u201ctreat yourself\u201d culture.\n\nBy buying a face mask and playing AI-generated lo-fi hip hop beats alongside fireplace videos, we try to calm our nervous system, while giving time and money to non-human systems that contributed to that very state.
In her work *\u201cI would rather die than sin\u201d*, Jova\u0161evi\u0107 selects the image of the well-known martyr Joan of Arc and places it in juxtaposition with a fireplace video, creating a dual association with her tragic suffering, but also with the artist\u2019s portrait infiltrated into that situation, where there is no dramatic physical suffering, only an inability shaped by contemporaneity.\n\nThe artist does not choose calming through lo-fi aesthetics or minimalism, but rather through the artificiality of AI-generated images that suggest tranquility but never actually achieve it. This reveals another layer of irony: even when we seek comfort, we choose simulation over community.<\/p>

Joan of Arc, as well as other sanctified virgin martyrs\u2014Saint Agatha, Saint Lucy, Saint Barbara\u2014who preferred chastity and death over lives filled with wealth and sex, were paradoxically seen as some of the most sexually alluring women in the Middle Ages, due to their beauty and their resistance to corporeality.\n\nThis ambiguous position, simultaneously an object of desire and a symbol of renunciation, aligns with the artist\u2019s concept in which she de-sexualizes herself while placing her image in the position of a martyr. However, unlike medieval saints, her \u201cstake\u201d is a digital simulation, and her \u201cmartyrdom\u201d is an ironic observational stance toward her own theatre of suffering, culminating in the statement \u201cI would rather die than sin.\u201d\n\nThis statement, on one hand, validates the archetype of the virgin martyr, and on the other, alludes to today\u2019s fear of error through overthinking, which leads to an inability to act.
In the installation *\u201cTree of Knowledge,\u201d* the artist continues this dialogue with the female body as a site of sin, temptation, and punishment. Inheriting a long tradition in which beauty was synonymous with virtue, Jova\u0161evi\u0107 constructs an installation that renders this logic meaningless.\n\n\u201cAs nature was understood as divine, those who were the most sacred and therefore closest to God were also in harmony with nature. Consequently, they were necessarily beautiful.\u201d Within this logic, images of pre-Fall Eve were portraits of the most beautiful woman who could possibly exist.
Jova\u0161evi\u0107 appropriates this iconography but turns it into parody: the apples bear her own face, yet they are not fruits of harmony, but fruits that have fallen on their own and remain unpicked. Instead of an idealized Eve standing on the threshold of sin, we are given multiplied versions of the artist\u2019s face, not as a beauty against which all other forms of beauty can be measured\u2014while, of course, naked\u2014but as discarded fruit.
This desexualization is a political act, precisely because it has almost always been acceptable to depict Eve nude and within a religious context, while control over the female body has always been mediated through aesthetics and religion. By placing her cast, her image, her likeness into the space of the installation instead of her body, she retains control over the narrative, but simultaneously acknowledges that objectification cannot be fully avoided, even in bodily absence.\n\nThe artist consciously avoids performance in the classical sense, because the presence of the body inevitably leads to objectification. Instead, she places representations of the figure into situations in which a living body would otherwise be, thereby inevitably controlling primary associations and the interpretation of the work.\n\nThe processual nature of her work does not stem from conceptual rigor, but from the need to materialize what otherwise remains in a zone of discomfort\u2014the pleasant-unpleasant territory where one simultaneously speaks ill of oneself and constructs a narrative about oneself.<\/p>

The work *\u201cTree of Knowledge,\u201d* created in collaboration with Katarina Bo\u0161kovi\u0107, further complicates these themes through questions of authorship and collective creation. Apples bearing the artist\u2019s face, a snake-phallus as the crown of a monumental parody, and artificial materials that emphasize the context and conditions in which the artist works\u2014all of this speaks to positioning within the contemporary art system, but also to how transgression itself can appear contingent, accidental, even comic.
As part of the exhibition \u201cI Would Rather Die Than Sin,\u201d Jana Jova\u0161evi\u0107\u2019s works do not offer catharsis; instead, they ask us to what extent our defense mechanisms serve protection, and to what extent they paralyze us. How much does resistance differ from the rigid conventions we are fighting against? And most importantly, are you ready to laugh at yourself, or do you still think you are at the stake?
It is precisely in that uncertainty, in the space between self-contempt and self-irony, between paralysis and action, between Eve before the Fall and Eve after, that Jova\u0161evi\u0107 constructs her work, using cheap materials, visible seams, casts of her own face, and simulations of calm.\n\nBecause if we cannot avoid suffering, we can at least stop taking it so seriously. We can recognize that our sins are small, our stakes are digital, and our martyrdom voluntary. Jova\u0161evi\u0107 does not offer us refrigerium, but humor as a way of surviving, lightness as resistance, and an apple that is not forbidden, but perhaps\u2026 unnecessary.<\/p>

Text: Jovana Trifuljesko<\/p>

Jana Jova\u0161evi\u0107 (1995, Ivanjica) completed her undergraduate (2022) and master\u2019s studies (2024) at the Sculpture Department of the Faculty of Fine Arts in Belgrade, where she is currently pursuing doctoral artistic studies. During
2023\u20132024, she studied at the \u00c9cole nationale sup\u00e9rieure des Beaux-Arts in Paris through the Erasmus+ program. She was awarded the Vladeta Petri\u0107 Sculptor Prize in early 2025.\n\nHer recent exhibitions include *Palimpsests* (Gallery 73, Belgrade, 2024), *Sex and Politics* (BL Art Festival, Banja Luka, 2024), *Pseudoshadows* (U10, Belgrade, 2024), and *Attitudes and Forms* (Museum of Contemporary Art of Vojvodina, Novi Sad, 2023). In 2023, she also presented solo exhibitions *Satisfaction* (Gallery Kornja\u010da, Belgrade) and *Pleasure is All Mine* (\u0160ok Zadruga, Novi Sad), as well as participated in *Playground* (Earl Lu Gallery, Singapore), *Blue Exhibition* (Museum of Contemporary Art, Belgrade), and *Masterpieces V* (U10, Belgrade).\n\nShe took part in several student exhibitions at the Belgrade Youth Center and exhibited at major events such as Sculptors of Serbia (Cvijeta Zuzori\u0107 Pavilion, 2022). Her early exhibitions include *Festum21* (SKC, Belgrade, 2021) and *First Time Exhibiting* (Jevevrem Gruji\u0107 House, 2021). She participated in the international residency Tropical Lab 17 at LASALLE College of the Arts in Singapore in 2023. Since 2024, she has been a member of the U10 Art Collective in Belgrade. Since 2025, she has been employed as a research trainee at the Sculpture Department of the Faculty of Fine Arts.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201eHo\u0107e\u0161 da bude\u0161 mu\u010denik?\u201c upitao je Gejb, podi\u017eu\u0107i obrve. \u201eValjda. Da, zapravo. Tako ne\u0161to.\u201c \u201eSajruse,\u201c re\u010de Gejb uz osmeh, \u201eti ne ume\u0161 ni sopstveni prljav ve\u0161 da opere\u0161.\u201c Klimnuo je glavom ka Sajrusovoj majici, izgu\u017evanoj i isprskanoj flekama od kafe oko kragne. \u201eMisli\u0161 da \u0107e\u0161 mo\u0107i da opa\u0161e\u0161 bombu oko grudi i u\u0161eta\u0161 u kafi\u0107?\u201c\u201eMu\u010denik!\u201d, […]<\/p>\n","protected":false},"author":14,"featured_media":14233,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-14213","izlozbe","type-izlozbe","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nRadije bih umerla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila - Vagon Gallery<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vagon.gallery\/en\/izlozbe\/radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Radije bih umerla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila - Vagon Gallery\" \/>\n<meta property=\"og:description\" content=\"\u201eHo\u0107e\u0161 da bude\u0161 mu\u010denik?\u201c upitao je Gejb, podi\u017eu\u0107i obrve. \u201eValjda. Da, zapravo. 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