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Dina Jezdic

@ms.interpretedd

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Art Critic, Curator - Decolonial Scholar - Inaugural Asia-Pacific @obamafoundation Leader 🖌️

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I’m still riding the post-opening high.

Feeling SO thrilled, grateful and, most of all, incredibly proud of Sefton Rani. Yesterday was such a beautiful way to open Clear My Throat, and I’m so happy we finally got to share it with you all. 🥹

A huge thank you to everyone who came to celebrate, support, kōrero, hug, laugh, look at art and generally make the evening what it was. ❤️

And the biggest thank you to Anita, Nicholas and the whole Arts House Trust team for being the coolest hosts and for all the care, support, problem-solving, lifting, shifting, fixing and general exhibition mahi that went into making this happen. We genuinely couldn’t have done it without you.

Clear My Throat is now open and runs until 15 November 2026.

And if you couldn’t make it yesterday, we’d love to see you tomorrow (Saturday) at 3pm for a floor talk with Sefton and me. Come hang out, have a kōrero and hear more about the work, the exhibition and all the things that happened in between ⭐️😁

See you there. 🫶🏽 taken in Pah Homestead by @ms.interpretedd

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2 months ago

My personal life love (with Eddie Giesen @coffinbrothersjewellery ) and my love of art have always been inseparable. Our beautiful kids are a testament to this land, this context and our cultures. ❤️‍🔥🎶❤️‍🔥🎶

Berlin & Frida are lucky to have so much to draw from... their incredible kura Newton Central School and learning their mother tongue every Friday at the DALMATINSKO KULTURNO DRUŠTVO. 💚🎶💚🎶

Thank you to @vicarofmiranda and @thebigideanz , @toipotonz that is my mad mahi love and focus at the moment. I am so very blessed to work with so many incredible artists that are teaching me so much every day! What a life! 💛🎶💛🎶

Thank you for your friendship and your art gifts Lonnie Hutchinson @lon_donna , Reuben Paterson @reuben_paterson and Kristine Mary @kristine__mary . I love you angels ♥️🎶♥️🎶

And last but never least thanks to Rose Swale @rosiepieteacup for the mad hook up! 💜🎶💜🎶. Link in bio 🔗 and @stufflifestyle 🥰 taken in Eden Terrace by @ms.interpretedd

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4 years ago

Last year, I wrote and completed my doctoral thesis on 30.12. 2023. Today marks 104 days since the world was split in two, and the dreadful events in Palestine have increased, as the recent South African allegation to the ICJ has shown. As I celebrate and experience the personal release, I am also continually challenged by the grief that shows up in my everyday life, revealing the interconnection between all of us and showing me how much my personal choices are intertwined with the larger collective. This learning has also been the greatest outcome of my research on decoloniality.

In these last few weeks of coming up for breath, I have so many people to thank and acknowledge for my decolonial work and my thinking over the years that have shaped the outcome of my doctorate. In particular, I want to acknowledge my husband and my children, who have had to share the burden of my absence. I have been going through a lot of awakening and shedding elements that are no longer in alignment with who I am becoming. I am grateful for these shifts as I reflect on my state of mind, the personal sacrifices I had to make, and that my family also endured by supporting me. In these very private moments, I am prioritising rest and mindfulness, and I have that wisdom to thank Audre Lorde for. I welcome the neural pathways that will be reshaped by self-care that will ultimately impact my work, relationships and how I show up in this revolution. I look for mental calmness to help me with dealing with difficult situations, personal and collective. This is not resilience, which in the past, I have embraced by pushing through. Instead, this year, in 2024, I embrace equanimity. I am lighter and more self-aware and look forward to the change that comes with that.

As a decolonial researcher, I express my full solidarity with the people of Palestine. I reject the colonial occupation of Palestinian territory and the apartheid system operated by the state of Israel, supported by the United States and its European allies.

I reject the bombing and genocidal actions in the Gaza Strip and the cruel tolerance of Western countries - Immediate ceasefire! 🍉🍉🍉

#freepalestinenow by @ms.interpretedd

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3 years ago

Kāryn Taylor’s exhibition 𝙀𝙭𝙥𝙚𝙧𝙞𝙢𝙚𝙣𝙩𝙖𝙡 𝙋𝙝𝙮𝙨𝙞𝙘𝙨 is now on until November 8th

‘[Taylor] is interested in the space in-between where together we can experience curiosity. This is ultimately what makes Experimental Physics so compelling. By searching for a space where forms remain open, the artworks precede interpretation.’

Read the full exhibition text by Dina Jezdić online

For a catalogue please contact info@sanderson.co.nz

Featured:

Karyn Taylor
𝘚𝘦𝘪𝘴𝘮𝘪𝘤, 2026
Cast acrylic
Edition of 3
500 x 500 x 65mm

Karyn Taylor
𝘚𝘦𝘯𝘵𝘪𝘯𝘦𝘭 𝘠𝘦𝘭𝘭𝘰𝘸 & 𝘚𝘦𝘯𝘵𝘪𝘯𝘦𝘭 𝘗𝘪𝘯𝘬, 2026
Cast acrylic, steel, 2-pack paint, unique editions
970 x 220 x 220mm (yellow)
1120 x 220 x 220mm (pink)

Karyn Taylor
𝘌𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘗𝘩𝘺𝘴𝘪𝘤𝘴, 2026
Gouache, stain, pine, projected animation
2000 x 1500 x 600 mm approx.

@karyntaylorartist taken in Sanderson Contemporary Art by @ms.interpretedd

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a day ago

Thanks Art Collector and Dina Jezdic for a great write up about my work 🤩 #nzartist #artcollectormagazine #dinajezdić #geometricabstraction #nzart taken in Sanderson Contemporary Art by @ms.interpretedd

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2 days ago

Such a pleasure to write the accompanying essay for Kāryn Taylor’s Experimental Physics at @sandersoncontemporaryart. Huge thanks to @lcowpertwait for commissioning the text, and for a wonderful opening night. ♥️✨

I’ve absolutely loved spending time with Kāryn’s practice and her extraordinary work. Conceptually rich, playful, imaginative and physically seductive, these works are incredible to experience in person. If you get the chance, please go and see them.

I also seem to have become slightly obsessed with quantum physics in the process. There is something endlessly fascinating about the instability of what we think we know, the limits of perception, and the questions this raises about reality and truth. Kāryn’s work opens up these ideas with such curiosity and visual intelligence, inviting us to reconsider what we see and what we think we understand.

Here’s an excerpt from the essay:

“Taylor expands the traditional premise of drawing, allowing the line to move through time and occupy a space that exceeds the physical boundaries of the object. The works draw us in through familiar geometric forms, while subtly shifting our confidence in what we think we see. Circles and squares suggest order and certainty, but changing light and colour make that certainty obscured, revealing perception itself as something contingent and conditional. Through playful process and geometry that provides an apparent logic, Taylor presents us with abstract ideas and physically seductive art, where mass, weight and presence become fluid properties.”

Thank you again for a wonderful evening. Looking forward to visiting the show again @karyntaylorartist . ✨ taken in Sanderson Contemporary Art by @ms.interpretedd

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3 days ago

Yesterday, a young person knocked on my door to talk to me about God. For a moment, I thought I could politely deflect her but she persisted. Then came the question: do you believe in God? She’d sniffed me out. 🫣

In retrospect, I probably would have said I’m not religious, but I am spiritual. I’ve always loved churches and religious spaces, places built for contemplation, where art has historically served something beyond itself.

Earlier this year, I spent time in the Rothko Room at Tate Modern. The nine dark, monumental paintings were originally commissioned for the Four Seasons restaurant in New York. Rothko eventually withdrew from the commission, convinced that a dining room was the wrong setting for the work. He wanted the paintings experienced together, in a space devoted to looking and contemplation. They have been displayed in their own room at @tate since 1970.

I sat there for a long time, watching other people sit, look and think. I found God in that room. Or something I recognise as God. Not necessarily someone listening, or a set of beliefs to subscribe to, but a feeling of connection. A reminder of the people we carry with us, the things we cannot explain, the things that make us human. ♥️🌺 taken in Tate Modern by @ms.interpretedd

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5 days ago

Feeling absolutely rejuvenated after a weekend in Waiheke. A bit of sun, great food, long catch-ups with friends and swims in the ocean. Spring!!! Just what the doctor ordered ☀️🌊 taken in Palm Beach Waiheke Island by @ms.interpretedd

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7 days ago

At @aucklandartgallery , et al. have revisited the fundamental practice, first presented at the 2005 Venice Biennale and acquired by the collection in 2008. 21 years on, the work feels unnervingly current.

The installation is a strange, highly controlled environment: grey surfaces, hurricane fencing, institutional signage, posters, diagrams, fragments of text and five Autonomous Purification Units moving mechanically back and forth across the gallery. These APUs, cast from old outdoor lavatories and now repurposed as speakers, emit computer-generated voices drawn from texts associated with religion, politics, extremism, the occult and creative practice. Together they become this unsettling orchestra of belief: sometimes synchronised, sometimes overlapping, sometimes falling apart.

I kept thinking about Michel Foucault and the institutional spaces he writes about: the school, the hospital, the prison, the factory. Spaces designed to organise bodies, regulate behaviour and produce particular kinds of knowledge. Places that allow us to occupy them, but also to be observed within them. There is something deeply uncanny about recognising that visual language here, the sense of order and surveillance. It feels familiar because so much of our lives takes place inside environments designed precisely to structure how we move, learn, work and behave.

Something about the grey municipal aesthetic, the functional architecture and institutional spaces took me straight back to growing up in Belgrade in the 1980s and early 90s. A visual language associated with childhood, public (utopian communism) buildings and the ordinary structures of everyday life was oddly comforting.

The handwritten additions to posters, the slogans, numbers and fragments of language seem to ask how ideas become systems, and how systems become authority. How do we know what to believe? How do we resist the gravitational pull of the group? And how do we keep thinking for ourselves?

I love the fact that et al. have made these ideas so physical. Brilliant curation @natashaconland and then commissioner @gb_burke1 🩶🩶🩶 taken in Auckland Art Gallery Toi o Tāmaki by @ms.interpretedd

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10 days ago

Last week we celebrated the launch of @experimental_dance_fest_nz 💫💫💫💫

This has been such a dream co-curation, working alongside Artistic Director @alexarosadaworldwilson and my fellow co-curator @kelstarblue to bring this year’s festival together. There is something particularly energising about working with live art and with artists who use the body to activate and transform spaces.

At a time when the arts can feel like an increasingly difficult place to be, this festival has felt like a breath of fresh air. A reminder of why I love this work: the experimentation, the unpredictability, the generosity of artists, and the energy that comes from being together in a room.

The 2026 programme brings together an incredible group of artists from Aotearoa and internationally, with the main performance season running 1–12 December, preceded by talks and workshops from 20 November.

Huge thanks to Creative New Zealand, Foundation North, Auckland Council, Wellesley Studios and Sean Curham for supporting the festival and helping make it happen.

See you in December. ✨

Tickets are on sale now via the link in bio 🔗 taken in Karangahape Road by @ms.interpretedd

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12 days ago

Nothing beats the magic of Cathedral Cove and spending time with friends and family in the Coromandel. I love this place so much, especially in spring, when everything is green, wild and gloriously showing off. 🌿💚 taken in Cathedral Cove by @ms.interpretedd

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14 days ago

Finally got to see Lottie Consalvo’s Cigam at Föenander Galleries. It was an absolute highlight for me to write the accompanying text for this beautiful show.

A little extract from We Were Never Just Weeds:

“Cigam turns magic backwards, asking us to reverse our assumptions: to pause and give our attention to what we have learned to disregard, dismissing it as ordinary, useless or inconvenient, and to wonder whether what we call magic might instead be an ability we have forgotten. For Consalvo, this question extends a practice long concerned with the entanglement of interior life, nature and the unstable territory between what can be seen and what can only be imagined. […] The paintings inhabit this threshold between the known and the mysterious, where a flower might carry a message, an ordinary object become charged with energy, and the body itself contain faculties we have yet to awaken. Magic becomes a way of opening our perception, inviting us to reconsider whether some of what we call impossible is instead a part of ourselves we have simply forgotten how to access.

What begins as a flower rooted in one place becomes hundreds of tiny travellers, each seed carried by its own parachute towards another life and possibility. Here, dispersal becomes the magic of letting go. It is a call to pay attention. The unknown may already be growing beneath our feet. And perhaps the real magic is discovering that we were never just weeds.”

Although I’m missing the artist talk and book launch this Saturday because I’m away, it was an absolute pleasure to hang out and spend time with Lottie at our house. And a highlight for Frida to have her toenails painted by, probably by now, her favourite artist. 😂💅

If you’re around this Saturday, go see the show and catch @lottieconsalvo for the artist talk and book launch at 2pm, Saturday 3 October, at @foenander_galleries . Can’t wai to get my copy 🌼 taken in Parnell, New Zealand by @ms.interpretedd

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17 days ago