Milica Cirovic (Belgrade 1984) graduated at the Academy of Fine Arts in Rome in 2017. In her art she uses her body in order to question the problems of identity, gender and sexuality through the use of photography and video.
She was a winner of the 5th edition of the ORA Prize and the finalist in the photography section in the international competition for COMBAT Prize in 2014.
In 2015 she exhibits at the Codice Italia Academy (56° Biennale of Art in Venice) in the section dedicated to the emerging artists from Italian academies, which was curated by Vincenzo Trione at historical Palazzo Grimani.
She participates in collective exhibitions in Italy and abroad such as: One, none and hundred thousand, Hungarian Academy in Rome, curated by Maja Daina Titonel; Now and Forward, Emerging Artists in Rome, Temple University in Rome, curated by Shara Wasserman and Tiziana Musi; From Rome, Emerging artists from the Academy of Fine Arts in Rome, Gallery Great Far Beyond, Philadelphia, USA; Mapping the Town, MACRO - Museum of Contemporary Arts in Rome, curated by Claudio Libero Pisano, selection of students from Academy of Fine Arts in Rome curated by Francesca Lilli; Labyrinth, curated by Dario Evola, Eugeniusz Geppert Academy of Fine Arts in Wrocław, Poland; Quattro artisti al Castello, curated by Cecilia Casorati, Castello di Santa Severa; FISAD – First International Festival of Schools of Art and Design, organized by Academy Albertina with Foundation Sandretto Re Rebaudengo, Torino; Emergency Exit, curated by WhArt Team, MACRO - Museum of Contemporary Arts in Rome; Premio Combat Prize 2014 – Museo Civico Giovanni Fattori, Livorno.
During her artistic itinerary she was selected for workshops where she worked with important artist such as Antoni Muntadas and Antonio Biasiucci.
The project “See you in the Obituary” is a narration about war through the female body of an artist where she transforms herself in Serbian criminals that had dominated the culture during the wartime in Yugoslavia. This performance for the photography was influenced by her memory as well as by the research on the documentation of photographs of criminals or a simple youth that wanted to emulate the dominant model that heavily influenced the construction of both genders. This kind of identity was a direct consequence of war that found its refuge in the symbols of ecclesiastic and military power as well as that of wealth coming form the West, while leaving the person under it anonymous and without personal character.