Milan Mijalkovic is Skopje—born, Vienna—based architect, artist and author. He creates space without limitations to a specific media: "A forceful statement, self-immolation or even a bad photography can create much more space than tons of concrete."
Since 2018, he teaches art and design and negotiation skills at TU Vienna.
This is an excerpt from a longer conversation that took place in Jan, 2025, in Vienna. The full text can be read here.
Sirenen, Performance, Speech, Happening, Milan Mijalkovic, 2023
Q: What do you love most about living in Vienna, and how does it shape your artistic expression and perspective?
My creative approach and world understanding are shaped by so much. For me, it’s an honour to live and work in peace, in a country that maintains neutrality by constitution, with no military alliances and no enemies. Vienna is a remarkable city, and life here is simply better compared to life in Tokyo, New York, Los Angeles, Seoul, London, Paris…
The Democratization of Nature, Photography, Milan Mijalkovic, 2015
Q: What is your perspective on modern society, technology, and the need for change?
One perspective is my strong wish for the emergence of a great global technoclastic movement—as an allusion to the iconoclasts of history. We need people who destroy technologies that cause stupidity. Fighting technologies that are dulling humanity should be their mission. No privileges for machines. The technoclasts of the future must dismantle all systems that stupefy us and future generations.
Imminent Destruction, Video still, Milan Mijalkovic, 2025
Q: How do you envision the future of performance art as the world becomes increasingly digital?
People will be back on the streets and squares. The digital world is now being shaped by web robots. The Majority is formed by bots. This is not a social space. What really counts is the offline experience you gain.
Performance, as I see it, is the creation of public space. It means we do it together. It is not an art object, not a product, not a show. It is not something you do in front of or for the people. It needs to be done. Performance arises from an urge.
Photo: Julian Mullan
Q: Your art can be seen as disturbing to those lacking a sense of humour, yet eye-opening for those who see beyond the surface. How important is it to you that your message is understood truthfully?
I don’t mind if my work is misunderstood—it’s part of the dialogue. Who am I to judge if a work remains unseen or unheard? Life is short.
In fact, some works that I did years ago are now starting to make sense to me. Works like 'Osama Obama Panorama' (2011), 'The Democratic Speech' (2016), 'The Hurra Collection' (2016), or 'Die Botschaft / Die Verwaltung' (2012) remained unseen and ignored, but now all of a sudden they are becoming strong.
I enjoy both serious and absurd jokes. Aristophanes or Lucian are as important as Ma'at. I believe it’s important to take problems so gravely that they turn hilarious. Maybe because, in the end, they turn out to be artificial or self-made. Humour has no boundaries. Literally, it means liquid. That’s why a joke can sometimes seem to predict the future.
Truth is stranger than fiction. But there is one truth. And there are many perceptions. I don’t trust those who take themselves too seriously.
Agitation 013, 103 x 153 cm, Mischtechnik auf Papier, Milan Mijalkovic, 2022
"Great need for a great dispute! Not out of hate, but out of love."
Agitation 015, 113 x 83 cm, Mixed media and collage on paper, Milan Mijalkovic, 2022
Q: Finally, why do you think candlelight has such a transformative effect on a space?
A candle's light creates live shadows. You see fewer details and you perceive only the rough picture. It veils the trivial world of 10000 things. In its gentle glow, the chaos fades and peace settles in your soul, reminding you—you are human, fire is what you own.
Agitation 014, 113 x 83 cm, Mixed media and collage on paper, Milan Mijalkovic, 2022