Born in 1975, Belgrade. Lives in Belgrade.

Darinka Pop-Mitić's works deal with the reconstruction of collective memories and their impact on politics, and vice versa. She tries to trace the reasons that particular actions, attitudes or historical events move in or out of focus, and questions the roles of complicity and denial in these processes.
Landscapes (2004-2005) is an installation of paintings set in the ambiance of a middle-class living room. The names on the small, engraved plates of the rather kitschy frames tell us what the paintings depict. But these are also the locations of mass graves from the war in the former Yugoslavia. The other key to reading the work is in the ultra-right nationalist newspapers that are part of the installation, in which Pop-Mitić has used her paintings to illustrate readers' love letters. The artist is commenting on what one finds acceptable, or simply pretends not to see in order to secure a sheltered middle-class life, and to what degree 'the beauty of art' continues to participate in the creation of complicit silent majorities.
The mural Pirate Jenny (2009) takes the song of the same name from Brecht's The Threepenny Opera and translates its references to radical feminism, the class struggle and revolutionary terror, into visual language. The use of the mural, previously a powerful tool for propaganda, is at the opposite end of the spectrum to Pop-Mitić's other work in the exhibition. Whilst the Landscapes question the role of art in placating the petite-bourgeois, Pirate Jenny asks about its potential to mobilise society.