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Born 23rd May 1975 (Našice, Croatia, former Yugoslavia)


Dragana Jurišić is an ex-Yugoslav artist based in Dublin. She works predominantly through the medium of photography, text and installation. Dragana Jurišić has won a significant number of awards including Golden Fleece Special Recognition Award, IMMA 1000 Residency Award and numerous Bursaries and Project Awards. In December 2013, Dragana completed her PhD and finalized a three-year long project ‘YU: The Lost Country’ that culminated in a critically acclaimed touring exhibition and a book. Her work is in many collections including National Gallery of Ireland, Arts Council Collection and Irish State Art Collection. She has exhibited widely both in Ireland and internationally. Her new book Museum, collaboration with Paula Meehan, is to be released in July 2019, published by Dublin City Council.


Photography books by

  • 2019 Museum, Dragana Jurišić & Paula Meehan, Dublin: Dublin City Council
  • 2015 YU: The Lost Country, Dublin: Oonagh Young Gallery

Awards and honours

  • 2019 Golden Fleece – Special Award
  • 2018 Selected as one of 100 Photographic Heroines by Royal Photographic Society
  • 2018 Awarded Temple Bar Studio three year membership
  • 2017 IMMA 1000 Residency Award
  • 2016 Nominated for Deutsche Börse Photography Prize
  • 2016 Thomas Dammann Junior Memorial Trust Award
  • 2016 Awarded a residency at Centre Culturel Irlandaise, Summer 2017
  • 2015 YU: The Lost Country book on numerous THE BEST BOOKS OF 2015 LISTS (Photobook Store, Photo-Eye, The Calvert Journal, etc.)
  • 2014 Special Recognition by Dorothea Lange & Paul Taylor Prize [Duke University] for YU: The Lost Country
  • 2014 Emerging Visual Artist Award Ireland, Wexford Arts Centre & The Arts Council’s
  • 2014 Three year residential studio award at Fire station Studios, Dublin, Ireland
  • 2014 Three year membership studio award at the Temple Bar Gallery and Studios, Dublin, Ireland
  • 2012 Artist Studio Award 2013, The Royal Hibernian Academy
  • 2012 Selected for Plat(t)forms 2013 at Winterthur Fotomuseum, Switzerland.
  • 2011 Student Graduate Prize, The International Rebecca West Society, New York, USA
  • 2011 The Curtin O’Donoghue Emerging Photographic Artist Award, Royal Hibernian Academy, Dublin, Ireland
  • 2009 Shortlisted for the Emerging Visual Artist Award 2009, Wexford Arts Centre, Ireland
  • 2009 MAstars, an annual selection of the most promising artists from the UK’s leading MA courses, UK


Solo exhibitions

  • 2018 YU: The Lost Country, Getxo Photography Festival, San Sebastian, Spain
  • 2018 YU: The Lost Country, Nooderlicht Photogallery, Groningen, Holland

  • 2018 My Own Unknown, Gallery of Photography Ireland, Dublin

  • 2017 My Own Unknown, Centre Culturel Irlandais, Paris, France
  • 2017 YU: The Lost County, Organ Vida, Zagreb, Croatia
  • 2017 My Own Unknown, In Process II series, Rawson Projects Gallery, New York, USA
  • 2016 My Own Unknown, Museum of Modern and Contemporary Art, Rijeka, Croatia
  • 2016 YU: The Lost Country, Westport Town Hall, Westport Arts Festival
  • 2016 My Own Unknown, Spot Gallery, Zagreb, Croatia
  • 2016 My Own Unknown, Oliver Sears Gallery, Dublin, Ireland
  • 2016 YU: The Lost County, Agusti Centelles Library, part of DOCfield 2016 festival, Barcelona, Spain
  • 2016 YU: The Lost County, Meeting Point Cinema, Sarajevo, Bosnia and Herzegovina
  • 2016 My Own Unknown, Wexford Arts Centre, Ireland
  • 2016 YU: The Lost County, Illuminations Exhibitions, Maynooth University, Ireland
  • 2015 YU: The Lost Country, Feld+Haus Gallery, Frankfurt, Germany
  • 2015 100 Muses, ArtBox, Dublin, Ireland
  • 2014 YU: The Lost Country, The Royal Hibernian Academy, Ireland
  • 2014 YU: The Lost Country, NOHO, Hamburg, Germany
  • 2013 YU: The Lost Country, Belfast Exposed, Belfast, Northern Ireland, UK
  • 2011 Seeing Things, Droichead Arts Centre, Drogheda, Ireland
  • 2009 Seeing Things, Chapter Arts Centre, Cardiff, Wales, UK

Group exhibitions

  • 2019 Process 1000/1, Irish Museum of Modern Art, Dublin, Ireland
  • 2018 Naked Truth: The Nude in Irish Art, Crawford Gallery, Cork, Ireland
  • 2018 Raframing the Border, Gallery of Photography Ireland
  • 2018 ‘But still, like dust, I’ll rise’ (after Maya Angelou), Galway Arts Centre
  • 2018 An Act of Hospitality Can Only be Poetic, Highlanes Gallery, Drogheda, Ireland
  • 2017 YU: The Lost Country, a part of Outposts exhibition in The Glucksman, Cork, Ireland
  • 2017 Inspiration and Rivalry: After Vermeer, National Gallery Ireland
  • 2016 In Residence II, exhibition featuring works of Picasso, Warhol, Arbus, etc., London, UK
  • 2016 The Museum of August Destiny, Lismore Castle, Ireland
  • 2016 Royal Hibernian Academy’s 186th Annual Exhibition, Dublin, Ireland
  • 2015 Royal Hibernian Academy’s 185th Annual Exhibition, Dublin, Ireland
  • 2015 Once Upon a Picture, The Ark, Dublin, Ireland
  • 2014 Periodical Review #4, Pallas Projects, Dublin, Ireland
  • 2014 Royal Hibernian Academy’s 184th Annual Exhibition, Dublin, Ireland
  • 2013 Fading Lights Are Fading, Flood, Dublin, Ireland
  • 2013 New Irish Works, National Photographic Archive, PhotoIreland Festival 2013, Ireland
  • 2012 40 Under 40: Selected works from the Irish State Art Collection, traveling exhibition
  • 2012 Newport Alumni Exhibition, Newport, Wales, UK
  • 2012 Elements: A joint exhibition of Public Sector Art Works, travelling
  • 2011 Human/Nature Landscape Photography from the State Art Collection, Farmleigh Gallery
  • 2011 Emergentes DST 2011, ENCONTROS DA IMAGEM, Monastery of Tibães, Portugal
  • 2011 Royal Hibernian Academy’s 181th Annual Exhibition, Dublin, Ireland
  • 2011 Disruptive Stillness, Jean Paul Slusser Gallery, University of Michigan
  • 2010 Collective Contemporary Art (CCA), Royal Dublin Society, Dublin, Ireland
  • 2008 (Not) a Photograph, Mestna galerija, Piran, Slovenia
  • 2008 178th Royal Hibernian Academy Annual Exhibition, Royal Hibernian Academy, Dublin


  • Museum (2019)
    Museum is a collaborative work with Paula Meehan, one of Ireland’s most esteemed poets and myself. In 2018 we were invited by Dublin City Council to respond to 14 Henrietta Street, a remarkable house that in 18thcentury started its life as a home to one aristocratic family, which by 1911 housed more than 100 people as a tenement building. The DNA footprint of the people who lived in the house is impressed into the floors, stored between the floorboards, carved onto those walls. It’s the walls that fascinated me the most. They were like secret maps inviting you to imagine hundreds of destinies No 14 Henrietta Street witnessed.
  • My Own Unknown (2018)
    My Own Unknown, the latest body of work by Dublin-based photographer Dragana Jurišić, an on-going series comprising five fascinating chapters due to culminate into a fictionalised biography. Combining text and photography, appropriated imagery also intermingles ruthlessly with notebook texts, video and performance, across diverse creative processes and narrated through differing voices. Hybrid and complex, My Own Unknown defies classification – its overlapping of languages, registers and motifs reflect the eclectic and expansive aesthetic and intellectual world of its author, Dragana Jurišić.” (Natasha Christia for 1000 Words Magazine)1
  • YU: The Lost Country (2015)
    Between the silences which seem to envelope the older generation and the ennui of the young, Jurisic’s YU is the landscape of still and mournful places, in which the weight of the past forces itself upon everything. Rebecca West valiantly fought to believe in the future of Yugoslavia. Dragana Jurisic traces the effects and aftershocks of its disintegration in the subtlety of her colours, her capacity for intimacy and the intelligence and empathy with which she sees what was once Yugoslavia. Jurisic’s YU is still a place which, in West’s words, can induce a ‘bad, headachy dream’. (Colin Graham for SOURCE Photographic Review, July 2013) 2
  • Seeing Things (2008)
    Seeing Things questions the nature of photographic seeing. Are photographers standing back and taking the wider view which separates them both physically and psychologically from their subjects ‘like the gods gazing down on the earth with Olympian dispassion’; or are they hiding with their presented vision, the hurt that they experience in the process? Does this predicament to get taken by the visual beauty of the scene in front of them – even a very upsetting one – override what is essential to one’s mental health – the optimism of memory? Are photographers tricked by beauty?3


External links & References

  1. “My Own Unknown” Dragana Jurisic
  2. “YU: The Lost Country” Dragana Jurisic
  3. “Seeing Things” Dragana Jurisic