Marina Gržinić

[7] In Ljubljana, she engaged in the constitution of what is today known as the Ljubljana alternative or subcultural movement that, in the 1980s, developed new artistic practices,(like video and performance) politically engaged movements such as the homosexual gay and lesbian scene, and many other processes that were constitutive for the discussion of the position of art and culture in Slovenia in connection with demands and struggles for a political emancipated life that bypasses the middle-class bourgeoisie perception of the Slovenian society and reality.

[10] Gržinić's work cannot be easily circumscribed in this or that school or discipline, though in recent years, she has brought forward global critical philosophy, which is both daring and dangerously concrete in being alert, critical for the local, against racism, coloniality and globally questioning capitalism, and necropolitics.

[12] This means that Gržinić's position is not a disengaged area of interpretation that derives from theoretical and philosophical contemplation but that her work in philosophy, theory, and arts derives from concrete theoretical practice and interventions and related cultures.

She finally engages significantly in public life at home and abroad, being part of different struggles politically and socially motivated against capitalism and its processes of dispossession, racism, and brutal discrimination.

[15] From 25.11.2022 to 28.2.2023 2022, the Loža Gallery Koper, Slovenia, hosts a major retrospective exhibition of works and visual installations by Marina Gržinić & Aina Šmid, from 1982 to 2022, entitled ODPADNIŠKE ZGODOVINE / STORIE DISSIDENTI / DISSIDENT HISTORIES, curated by Mara Ambrožič Verderber.