Bojana Janković

As we wrap up #LoveDataWeek for 2026, a reminder that there are more activities planned all year to share data best practices. Coming up in March > DRI will host a #ReproductiveJustice #Hackathon with help from @wikimediaie . Come and learn how to edit Wikipedia and reuse data from DRI's #ArchivingReproductiveHealth project. Enjoy a lunchtime talk at @dclareadingroom by @alejungs , Research Associate at Massachusetts Institute of Technology Data+Feminism Lab. Registration link on the DRI Events page (link in bio). Organised by @aaocarroll @postmoderna @hellbunniee Noelia Romero and Beth Knazook

𝘚𝘩𝘢𝘳𝘦𝘥 𝘔𝘪𝘨𝘳𝘢𝘯𝘵𝘴 (𝘈𝘳𝘤𝘩𝘪𝘷𝘦) at TULCA 2025: Strange lands still bear common ground, curated by Beulah Ezeugo. In collaboration with Nessa Finnegan. 𝘛𝘩𝘦 𝘚𝘩𝘢𝘳𝘦𝘥 𝘔𝘪𝘨𝘳𝘢𝘯𝘵𝘴 𝘈𝘳𝘤𝘩𝘪𝘷𝘦 collects words, drawings, and scribbles reflecting on migrant interactions with the ‘Irish border’; these community contributions are then superimposed on old maps of the island. The archive considers the border as both a physical line and a broader regime of exclusion - from territories but also rights, histories, and identities. Sidelining the data collection and sharing mechanisms of border control, the project centres migrant knowledge: instead of collecting 'facts' about migrants, the archive considers how the border feels for migrants. The archive was open for new submissions throughout TULCA; next time it goes into the world, maps and banners inspired by Galway contributions will join the collection. Supported by the Royal Conservatoire of Scotland and Centre for Creative Practices. Photos by Ros Kavanagh.

🥨 A belated klaxon for 𝑱𝒖𝒔𝒕 𝑮𝒊𝒃𝒂𝒏𝒊𝒄𝒂, a short piece for issue 11 of @mirrorlamppress 🥨 𝑁𝑜𝑡𝑒𝑠 𝑓𝑟𝑜𝑚 𝑎𝑛𝑑 𝑎𝑏𝑜𝑢𝑡 𝑎 𝑤𝑒𝑒𝑘 𝑖𝑛 𝑡ℎ𝑒 𝑙𝑖𝑓𝑒 𝑜𝑓 𝑎 𝑚𝑖𝑔𝑟𝑎𝑛𝑡 𝑎𝑟𝑡𝑖𝑠𝑡, 𝑒𝑚𝑝𝑙𝑜𝑦𝑒𝑑 𝑡𝑜 𝑚𝑎𝑘𝑒 𝑎𝑛𝑑 𝑠𝑒𝑟𝑣𝑒 𝑓𝑜𝑜𝑑 𝑑𝑢𝑟𝑖𝑛𝑔 𝑎 𝑏𝑖𝑒𝑛𝑛𝑖𝑎𝑙. /issue-11

🚢 I wrote about the migrant border on the island of Ireland: 🚢 🚌 𝙎𝙝𝙖𝙧𝙚𝙙 𝙈𝙞𝙜𝙧𝙖𝙣𝙩𝙨: 𝙊𝙣 𝙎𝙡𝙞𝙥𝙥𝙞𝙣𝙜 𝙞𝙣𝙩𝙤 𝙉𝙖𝙩𝙞𝙤𝙣𝙖𝙡 𝘼𝙧𝙘𝙝𝙞𝙫𝙚𝙨 🚌 is part of 𝘈𝘳𝘤𝘩𝘪𝘷𝘪𝘯𝘨 𝘗𝘭𝘶𝘳𝘢𝘭𝘪𝘵𝘺 : 𝘈 𝘊𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘪𝘷𝘦 𝘗𝘳𝘰𝘤𝘦𝘴𝘴, edited by Alessia Cargnelli @alex_cargnelli and published by National Irish Visual Arts Library @nival_ncad - a collection thinking through what a national archive means for migrant artists. ----- 𝘈𝘳𝘤𝘩𝘪𝘷𝘪𝘯𝘨 𝘗𝘭𝘶𝘳𝘢𝘭𝘪𝘵𝘺 : 𝘈 𝘊𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘪𝘷𝘦 𝘗𝘳𝘰𝘤𝘦𝘴𝘴 is the culmination of a year-long participatory-led research project on enhancing access, inclusion and visibility in NIVAL’s collection. Led by post-doctoral researcher-in-residency Alessia Cargnelli @alex_cargnelli and commissioned by NIVAL, the project entailed direct involvement of artists and designers from diverse ethnic, cultural, gender backgrounds and nationalities currently underrepresented in the collections. The printed publication collates the responses of more than thirty arts professionals involved in the research and a series of commissioned writings by teresa cisneros, Sara Damaris Muthi and Sophie Mak-Schram. This multiplicity of approaches enable us to better understand and preserve the plurality of creative contemporary practices on the island of Ireland, ultimately seeking to answer the question "How to practise the right to belong?” For inquiries about purchasing a copy, or a free digital copy [email protected]

🛄 My piece ПУТНИК: is included in By the Means at Hand, Vlatka Horvat’s project for the Croatian Pavilion at the Venice Biennale. 🛄 ⭐️By the Means at Hand is a cumulative and ever-changing installation made through contributions of migrant artists; invited by Vlatka, we all created a ‘drawing’ reflecting on the migrant/diasporic experience and got tasked with transporting it to Venice via a congregation of informal couriers - friends, acquaintances and strangers already heading to the Biennale. The generosity and risk in Vlatka’s project are peak migrant methodology, from a ‘national pavilion’ featuring work by an international group of migrants to the trust put in the ellusive, dispersed, ephemeral support networks (that sustain so much of the migrant experience). I never took the photo of the ‘drawing’ I ended up sending via the generous Sara Greavu. Giving away /letting go felt in the spirit of the project. Instead, pictured here: attempts and versions left with me, a documentation of the migrancy in process. ПУТНИК: is currently on display at the Croatian Pavilion and if you happen to be in Venice over the next months, maybe you will get to see it. Photos of the Croatian Pavilion by Hugo Glendinning.⭐️

🎉 Two things happened at the end of 2023 🤸‍♂️🥔 𝙀𝙨𝙨𝙚𝙣𝙩𝙞𝙖𝙡 𝙒𝙤𝙧𝙠: 𝙀𝙖𝙨𝙩𝙚𝙧𝙣 𝙀𝙪𝙧𝙤𝙥𝙚𝙖𝙣 𝙈𝙞𝙜𝙧𝙖𝙣𝙩𝙨 𝙖𝙣𝙙 𝙈𝙤𝙙𝙚𝙡𝙨 𝙤𝙛 𝙋𝙖𝙧𝙩𝙞𝙘𝙞𝙥𝙖𝙩𝙞𝙤𝙣, an article I wrote about the collaboration between Alicja Rogalska and seasonal agricultural workers on Jersey, was published in Contemporary Theatre Review. It's open access and it's here: https://shorturl.at/BDFU9 ​ 🚑 💊 I passed my viva / finished my PhD / became a doctor - rounding up four-years of thinking about how migrant performance becomes migrant resistance. 𝘼𝙜𝙖𝙞𝙣𝙨𝙩 𝙃𝙤𝙨𝙩𝙞𝙡𝙚 𝙀𝙣𝙫𝙞𝙧𝙤𝙣𝙢𝙚𝙣𝙩𝙨: 𝙈𝙞𝙜𝙧𝙖𝙣𝙩 𝙋𝙚𝙧𝙛𝙤𝙧𝙢𝙖𝙣𝙘𝙚𝙨 𝙤𝙛 𝙀𝙖𝙨𝙩𝙚𝙧𝙣 𝙀𝙪𝙧𝙤𝙥𝙚𝙖𝙣 𝙄𝙙𝙚𝙣𝙩𝙞𝙩𝙞𝙚𝙨 𝙞𝙣 𝙀𝙣𝙜𝙡𝙖𝙣𝙙 features a longer version of the above article (and is also open access for anyone who asks) Image: my PhD, a chunky blue volume, posing in its current location on the windowsill, alongside plants and elders

🤝 The Uncommon: An online gathering for migrant artists on the island of Ireland 🤝 Tuesday 23 May 2023, 1-3pm 📍Online via Zoom - book via CCADLD.org/shop CCA is delighted to present 'The Uncommon: An online gathering for migrant artists on the island of Ireland' with artists Bojana Janković and Marta Dyczkowska, and a space for migrant artists to meet, organise and plot; to share ideas and frustrations. Bojana and Marta are inviting fellow migrants living in Northern Ireland and the Republic of Ireland to join us for an online event dedicated to thinking about what migrancy means within the cultural sector of the island. The session is an opportunity to ask: how are migrant artists represented within the cultural sector and what exclusions and obstacles do they face? How do cultural institutions on the island support migrant artists or how are they contributing to their invisibility or marginalisation? What does ‘shared island’ mean for migrant artists - when most are legally prevented from working in both countries? The gathering is for artists at any stage of their practice, working in any art form, living in Northern Ireland of the Republic of Ireland, and who identify as migrants. ‘Migrant' refers to people who have lived experiences of migration in their lives and people profiled as migrants because of the colour of their skin, their accent or other characteristics, regardless of their legal status. 🎟 You can book a free place for the gathering, on CCA's shop @ CCADLD.org

Are you a migrant living in NI or ROI? Do you have ideas on what a migrant-inclusive island of Ireland looks like? What does a shared island look like for migrants? The Uncommon is in Dundalk: Saturday, 18th March, 11:00-16:00 @antainarts . The piece follows public buses as they make their way across the island of Ireland, connecting people across an invisible, frictionless border. For migrants, the buses are an example of public services they can’t access: many need visas to cross the border, and most are required to report their crossings to the Gardaí or the Home Office. The Uncommon charts this migrant hard border as it is performed and conjured up daily: every time a bus crosses the border, an immigration stamp is added to the gallery wall. In Dundalk, these exclusions will be mapped alongside ideas for a migrant-inclusive Ireland. Drop down to @antainarts on and contribute to the piece. Or: drop me a line and your contribution will be added remotely. (Maybe you're not in Dundalk; maybe you can't cross the border.) Made through these collective contributions from people living on both sides of the border, the gallery wall will become a migrant map of Ireland.

Cutting the ribbon on Migrant Futures. @migrantsinculture and @artsadm are collaborating on a pilot / research project exploring migrant-led mentorship for the cultural sector. Over the next month a group of migrant artists, cultural workers, and organisers will think about navigating the existing system and building a new one; imagine how we can embed support systems for migrant artists into existing institutions; research how migrant knowledge and methodologies can instigate new forms of institutional support. The questions guiding this pilot are: * What forms and shapes of mentorships do migrant artists need and want? * How can mentorship respond to and be built on experiences of artists and cultural workers with trauma of displacement and disenfranchisement? * How can we use the existing support systems – built within a cultural sector that is hostile to migrants – to imagine and design new migrant- led ones? With thinkers: @istanbulqueerartcollective @ebsil.85 @migrantsorganise more info: /project/migrant-futures/ 📸 Alicja Rogalska

What does support look like for migrant artists working in a hostile cultural environment? @migrantsinculture  and @Artsadm are collaborating on a Radar session that is about mapping the support that’s out there and imagining the support we need. The session is part of Migrant Future, a pilot programme exploring models of migrant-led mentorship. [about which I am v v excited.] 📅 18 October ⏰ 2-5pm 🎟 online and free 📷 photo Alicja Rogalska

'This Route’ A workshop for Culture Night 2022, in collab with CCA and Derry Print workshop 📅 23 September, 5-8pm 📍CCA Derry~Londonderry An interactive screen-printing workshop, building on the archive built for The (Uncommon) for the ‘Ballads of Rhinestones & Newcomers’. Offered for print are three images of maps and bus timetables, original artefacts from 1968, 1973 and 1982–1983, subtly altered to reflect the contemporary migrant experience of the island of Ireland. This free drop-in workshop gives you the opportunity to print an original artwork and take it home with you on the night. No booking is required and the activity is suitable for ages 6+ @CCADLD @derryprintworkshop 📸 Paola Bernadelli

The Uncommon (Travel Area): A performance/installation that follows public buses as they make their way across the island of Ireland. Every time a bus crosses the invisible, frictionless border, an immigration stamp is added to the gallery wall, re-creating the hard border experienced by migrants living in Northern Ireland and the Republic of Ireland. Part of Ballads of Rhinestones & Newcomers @ the CCA, 20 Jul 22—24 Sep 2022. [ID] A series of images taken in a gallery: a wall adorned with print out timetables, a big map of Ireland, and an artist wearing a hi-vis vest adding stamps to the gallery wall. The first and the last image show close-ups of archival bus timetables.