by Max Andersson & Lars Sjunneson
The 1999 NATO bombing of Serbia, a grenade shell from a Sarajevo souvenir shop, and a refrigerator with the frozen mummy of Tito serve as the starting point for a journey further and further down the collective unconscious of the Balkans, where the borders between dream and reality are erased and redrawn until they form a tale that is both about war-torn Europe and a deep dive into the psyches of its authors. Or it could simply be a discussion about the essence of drawing. In either case, Bosnian Flat Dog is a collaboration between Max Andersson and Lars Sjunnesson to the extent that they no longer can tell themselves exactly who did what. This has lead to the emergence of an independent artistic entity which is neither of the two, but something else that's both familiar and scary.
The 1999 NATO bombing of Serbia, a grenade shell from a Sarajevo souvenir shop, and a refrigerator with the frozen mummy of Tito serve as the starting point for a journey further and further down the collective unconscious of the Balkans, where the borders between dream and reality are erased and redrawn until they form a tale that is both about war-torn Europe and a deep dive into the psyches of its authors. Or it could simply be a discussion about the essence of drawing. In either case, Bosnian Flat Dog is a collaboration between Max Andersson and Lars Sjunnesson to the extent that they no longer can tell themselves exactly who did what. This has lead to the emergence of an independent artistic entity which is neither of the two, but something else that's both familiar and scary.