Irfan Hošić

Irfan Hošić (1977) completed his PhD at the Department of Art History at the Faculty of Humanities and Social Sciences, University of Zagreb in 2011. His scope of research is modern and contemporary art, design, fashion and architecture. He was curator-in-residence at the Singapore Art Musem (2024), Fulbright Visiting Scholar at the College for Creative Studies and Wayne State University in Detroit (2019/2020) and a post-doctoral researcher at the Ghent University (2013/2014). As a guest lecturer he taught at the University of Michigan, Florida Gulf Coast University, University of Central Florida, Western Kentucky University, Paderborn University, University of Graz, Vyatautas Magnus University in Kaunas, Universidado do Algarve and University Nova of Lisbon. Hošić holds the Igor Zabel Grant Award (Igor Zabel Association for Culture and Theory, 2024), Patterns Lectures Award (Erste Stiftung and WUS Austria, 2016) and the Culture Watch Award for journalists (BIRN, 2012). He is the author of the book Slika krize. Kulturne i umjetničke prilike u Bosni i Hercegovini 1990-2020 (Image of Crisis. Cultural and Artistic Circumstances in Bosnia and Herzegovina 1990-2020, Buybook, Sarajevo, 2024) and Iz/Van konteksta (Out of Context, Connectum Sarajevo, 2013). Hošić is also editor-in-chief of nomadic zine Revizor. He was a curator of the Pavilion of Bosnia and Herzegovina at the 55th Venice Biennale (2013), as well of several exhibitions such as Amer Kobašlija. Images (2025), In Search of ‘Other’ Space of Belongign (2021), Didactic Wall by Mladen Miljanović (2019), Artefacts of a Future Past (2017), Spomenko Škrbić. Works (2013), Clothing as a Symbol of Identity (2012), Alem Korkut. Sculptures (2011), Art and Terrorism (2009) and What is Abstraction? (2007). Hošić is also the editor of numerous theoretical and scientific publications such as Design and Crisis (2020), Retrography of Design (2017), Crisis, Arts, Action (2015) and Attention! Clothing, Art, Identity (2014). He is founder and director of the Foundation Revizor (2016) as well as founder and artistic director of the Center for contemporary culture KRAK (Bihać, 2020). He teaches Art History and Modern Art and Design at the Textile Department at the University of Bihać.

Between audience and community

Rooted into local community as a counterpoint to the professionalization and technocratization of the knowledge, KRAK Center for Contemporary Culture stimulates less regulated and prescribed learning protocols based upon the needs within the context. Learning is understood as an emancipatory process of mutual benefits within complex system of embeddedness (Irit Rogof). Knowledge-production is becoming inseparable part of a wider curatorial curriculum which consists of decision making, production and display, community engagement, and documentation and archiving – stimulated by the continuous question what can we learn from KRAK and how this knowledge is transferred? Interwoven through the curatorial thinking, learning becomes an instrument of liberation for all parties involved.

For this presentation, two cases are taken in focus – KRAK Magazine and bulletin Revizor. As a part of KRAK’s publishing strategies and a response to the crisis of the post-genocide society, they are different in their editorial and material aspects. First one engaging locally; the second one aiming to establish dialogue internationally, they both foster transformation of the audience into the community. In doing that, mediated content becomes more direct and as such it stimulates imagination and cultivates possibilities.