Alexi Kukuljevic



  • Trading Places, You Can't Rely on the Joke as the Only Mode of Production, Kunsthalle Leipzig, 2014
  • Don't Be a Dreamer Mr Me, Marginal Utility, 2013-14
  • Don't Be a Dreamer Mr Me, Marginal Utility, 2013-14
  • Don't Be a Dreamer Mr Me (An Orgy of Stupidity), Marginal Utility, 2013-14
  • One or Two Things About AK (for Konrad Bayer), 2012-13
  • The Little Game Played Between the I and the Me, Palais de Tokyo, 2013
  • Sans rêve et sans merci, JVE Academy, 2012
  • Untitled (no refuge at all), 2013
  • When Form Becomes Attitude, JVE Academy, 2013
  • A Murder and a Marvel, IASPIS, 2013
  • Lack:Abscess, 2012
  • Nothing Resembles a Man Less than a Man, (84 x 119 cm), 2012
  • The I Lesson Part I, ICA Philadelphia, 2012
  • Tractatus Logico Suicidalis, 2011
  • Lucifer of the Negative, 2011
  • Untitled, (40 x 58 cm), 2012
  • Every Bite a Monument I, 2011
  • The Limits of Grammar I, 2012
  • I = I, (60 x 49 cm)2012


Cracked Fillings

PDF (19.4mb)

Cracked Fillings is an artist book. Bringing together a number of objects, images and texts, it provides a clue to the artist's sensibility, tracing a broken line through some of the central themes and motifs that animate his practice.

Hiatuses, Holes or Tears

PDF (23.7mb)

Hiatuses, Holes, or Tears. is an artist PDF that acts an introduction to a number of the concerns that trouble and drive the artist's practice. In the Preface, the author writes, "If there is a sine qua non of this fabric of texts and images, it is the encounter with monstrosity, things that do not fit, that are out of joint. I have assembled a number of different figures that have abandoned the human all too human effort to force the puzzle pieces to fit—the absurd figure of a grown child trying to jam a square into a circle. Then again there is nothing to be gained in championing the mere triumph of incoherence. It is rather a question of the necessary deviations and the evasions that engender a subject that cannot free itself from tracing its shadow and registering its null and monstrous presence."

More or Less Art, More or Less a Commodity, More or Less an Obect, More or Less a Subject-The Readymade and the Artist

PDF (96kb)

Through an interpretation of Duchamp and Broodthaers, the essays argues that the readymade introduces a split in the artistic object that can only be appropriated by splitting the artistic subject. A generic or a post-conceptual artistic practice, in which art as such is in question and not the problems of a particular artistic medium, poses the negotiation of this twofold split as its central aesthetic problem.

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