Research Interests


Although Milena Popov - Nena's interest lies within a broad spectrum of art history, theory and critical theory, her current scholarly and artistic interest is contemporary art in relations to political, technological, and environmental discourses. In her research (and art) she frequently explores notions and concepts of eco-aesthetics, participatory art and condition, gesamtkunstwerk, biopolitics, biogenetics, Antropocene, Post-Antropocene, post-humanism, digital heterotopia, post-colonialism, multiculturalism, globalization, Otherness, identity, privacy, etc.


The most recent publications:



(Article published at the Sciforum Electronic Conference Series, Vol. 8, 2015, A005)



The subject of this paper is an examination of various connections between seemingly non-affiliated (or at least hardly connectable) concepts of biopolitics and eco-aesthetics. The purpose of this paper is to look at this very poorly researched area, to lace together diverse links between concepts, objectives and mechanisms of biopolitics and eco-aesthetics in the context of theories of arts and media. Ultimately this research work seeks to map out a clear view of these relationships. The study is guided by several questions and hypotheses: Do ecology and eco-aesthetics stand in stark contrast to biopolitics and its goals? Can it be said that eco-aesthetics and biopolitics, each in its own way, control life? Does perhaps today's popularization of ecology and eco-aesthetics, as Žižek theorizes, represent a new instrument of politics of fear? Or is it a demonstration of the necessity of biopolitical power? It is this latter supposition that seems to me most correct. And then, where in this relationship is art? Is art only the naive accomplice in this demonstration of power? Or, is art an agent in the biopolitical arena, because it wants to become biopower and achieve a sort of Gesamtkunstwerk - create life as a work of art? Yet in participating, the avant-garde artist-revolutionary forgets that revolutions eat their children. The goal of this paper is to thoroughly investigate and systematize, through interdisciplinary, hybrid theory, the connection between eco-aesthetics and biopolitics through research of their developments, the context in which they appear, and the status they have in modern society and in theories of arts and media.

Keywords: biopolitics, biogenetics, eco-aesthetics, neoliberalism, eco art, environment, contemporary art




(Article published in the journal Kultura, No. 138, March 2013, pp. 228-235.)



Today's democratic society is characterized by neo-liberalism, globalization and multiculturalism. Is this society really free and open, or is it pervaded by western-centrism, and hence the Other, in veiled form? In this 'liberal' society and its globalization, fashion is also globalized. But can we call fashion, as in the case of Alexander McQueen, 'global', and if we can how it is expressed? Is this fashion 'a fashion without borders' - an amalgam of equally mixed world fashions, or is it something else? Who decides which fashion lines are going to be declared global - and enter the archive? Historically, art and applied art, including fashion, always expressed itself from the context of the culture from which it sprang. Consciously or unconsciously, political discourse always played an active role in constructing and maintaining social orders and their values. So global fashion also has a role in maintaining its own system - a neoliberal order.

Keywords: globalization, global fashion, Other, exoticism, neoliberalism, archive




(Article published in the journal Kultura, No. 131, June 2011, pp. 189-195.)



In the era of mass production and consumption, the emergence of new technologies and opportunities for quick and easy reproduction, Duchamp with his 'readymade' objects opened a new field of artistic activity which has allowed the artist not only to presents industrial products as art, but also to keep their industrial, not an artistic look. Following his lead, artists sacrifice their copyrights for democracy. This allows the creation of a new form of 'creation' and 'exhibition' - Internet, which is as a digital 'democratic' creation and other modern technology that goes with it, available to everyone, not just artists. Given that the artist is no longer the only one who possess the skill and technical knowledge, as Groys said, art is what artist create, share and exchange with other people in everyday life. Contemporary visual art as if became a mass practice. It seems that everyone is an artist today, since everyone creates everyday and exhibits its’ creations on popular web sites. Is this what Beauys predicted with his thought that everyone is an artist? Life exhibits itself, and everyday life becomes a work of art. Process of self-documentation and its presentation to the public in the form of confession on web sites - the digital "religion" became a mass obsession, because it leads to a pleasure of the cathartic exposure of life. This new places of pilgrimage, 'believers' visit daily and non-stop, especially since it is not placed in a particular building (like church), but in every 'believers' home - his intimate space, and more and more travels (like the Bible before) everywhere with the   ‘believer' (through mobile phones, tablets, laptops). Marxist motto "Religion is the opium for the people" here can find a new application. However, this new type of pilgrim - User, besides experiencing Worholian 15 minutes of fame, also experiences frustration in the misappropriation as the byproduct of life exposure - new frustration that occurs when the 'audience' does not pay attention to offered exposure. Artists and other people in the race to document all aspects of life, in fear of time passing and loneliness, are desperately trying to achieve mass communication in the enchanted world of digital heterotopia.

Key words: contemporary art, Internet, religion, mass communication, democracy, reproduction


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