Bojan Djordjev is performance maker from Belgrade, educated in theatre and art theory in Belgrade at Faculty of Drama/University of Arts and Amsterdam at DasArts. Apart from Belgrade, his works have been shown in Berlin, Brussels, Amsterdam, New York, Shanghai, Vienna, Zurich, Zagreb, Rijeka, Ljubljana… Directing credits include performances based on: H. Guibert, E. Jelinek, J. Joyce, G. Ferčec, I. Sajko, and three operas including Les enfants terribles by J. Cocteau/P. Glass.

He is a member of editorial collective and co-founder of TkH (Walking Theory) platform and Journal for Performing Arts Theory. As an artist he is interested in using theatre as a place for collective thinking, a machine for processing complicated discoursive propositions such as economy, art history, politics and critical theory. His recent works revolve around finding artistic and theatrical public formats for Marxist thought as well as research into artistic heritage of the Left in Yugoslavia and elsewhere. In spring of 2016 he took a trip to Buenos Aires on a cargo ship in order to study intricate choreography of world trade which resulted in the piece Said to contain: a collaboration with Maja Leo, Laura Kalauz et.al.



2012-2015 DasArts, Master of Theatre, Amsterdam, NL

2002-2007 MA Theory of Arts and Media, University of Arts, Belgrade RS

1996-2001 BFA Theatre and Radio Directing, Faculty of Drama Arts, Belgrade, RS



2017 – Komuna Warszawa, Warsaw, PL

2016 – Kulturkontakt, Vienna, AT

2015 – Akademie der Künste der Welt, Cologne, DE

2013 – Kamov residence programme, Rijeka, HR

2011 – Artslink/New York Theatre Workshop, New York, USA

2010 – Les Laboratoires d’Aubervilliers, within TkH project How to do Things by Theory, Paris, FR

2004 and 2005/06 – Akademie Schloss Solitude, Stuttgart, DE


selected recent performances

2017 Orientation in 100 revolutions collaboration with Siniša Ilić, Nadežda Petrović Art Gallery, Čačak; Aftermaths and Transformations: October Revolution 1917 Revisited, Academy of Fine Arts, Vienna; Komuna Warszawa, Warsaw

2016 Said to contain: – thinkling public sessionsZHDK, Zurich; La Darsena, Buenos Aires; 2017 Mine, Yours, Ours, Rijeka; Mladi levi, Ljubljana; BITEF/Polyphony, Belgrade; Precariats’ Meeting, Ming Contemporary Art Museum, Shanghai

2016 The Barrès Affair – public reading of a transcript of Dadaist trial, 28th Nadežda Petrović Memorial “Before the Court”, Nadežda Petrović Art Gallery, Čačak

2015 Future Read in Concrete and StoneDasArts/Dansmakers, Amsterdam; 2016 Belgrade Youth Centre, Belgrade; Impulstanz, Vienna; Infant, Novi Sad; Lokomotiva, Skopje

2014 Not Red but Blood – Yugoslav communist, revolutionary and partisan poetryCentre for Cultural Decontamination, Belgrade; 2015 Infant, Novi Sad; Mladi levi, Ljubljana; National Theatre, Užice; Open University/Sartr, Sarajevo

2013 The Discreet Charm of MarxismDasArts Amsterdam; 2014 Brakke Grond, Amsterdam; Jeter son corps dans la bataille/COMMUN, bâtiment d’art contemporain, Geneve; Kibla, Maribor; 2015 Bitef, Belgrade; HAU, Berlin; Kaaitheater, Brussels; 2016, Frascati, Amsterdam; De Balie, Amsterdam; 2017 Teatro Maria Matos, Lisbon, Nadežda Petrović Art Gallery, Čačak; Precariats’ Meeting, Ming Contemporary Art Museum, Shanghai

2012 Herve Guibert, Les ChiensQueer Zagreb, Zagreb; Xoom, Split; Perforacije, Rijeka, Zagreb, Dubrovnik; Limit Festival, Belgrade

2011 Goran Ferčec, A Letter to Heiner Müller, ZKM, Zagreb; 2012 Bitef Theatre, Belgrade; La Mama ETC, New York