TARWUK

As the pseudonymous artistic duo describe: TARWUK is a ‘condition’, and this ‘condition’ is their practice.1 Foregoing their individual identities to inhabit a single artistic entity, TARWUK refer to the 1960s and ’70s avant-garde collectives of their native, former Yugoslavia, for whom collaboration was both method and ideology. Driven by an existential enquiry into the boundaries of the self, TARWUK is firstly a ‘research into selfhood’2, an experimental union that strains the limit of what artmaking can be. Revisionist by nature and diverse in output, their multi-faceted practice draws upon a wide range of functions and fragments. Though their work may involve painting, sculpture, installation and performance, ‘mediums are different venues to explore a collaborative approach; they’re not ends in and of themselves.’3