The work is presented as a video in which movement, sound, and moving image interact to investigate how identity is shaped through the body and how memories, emotions, and experiences can be shared between people. The artistic process has been central to the work, built on a close collaboration where choreography, camera, sound, and performance developed in parallel, continually influencing one another.
The work takes its departure point in the body as a carrier of experience. Through movement, breathing, and physical exertion, it explores how past experiences can leave traces on the body and affect how we move, relate to others, and perceive ourselves. The choreography shifts between control and dissolution, resistance and change, with each movement gradually renegotiating the relationship between body, space, and time.
CRYSIS stems from experiences shared by many FLINTA* individuals – women, lesbians, intersex people, non-binary people, trans people, and agender people.
The acronym is used here as an umbrella term for groups historically and contemporarily affected by gendered and patriarchal power structures. Rather than examining individual identities, the work investigates the bodily consequences left behind by norms, gender roles, and power. Through movement, it brings to light how such experiences can manifest as repetition, tension, adaptation, and exhaustion, but also how the body can become a site for resistance, recovery, and transformation.
Medina Balešić
Medina Balešić (b. 1994, Gothenburg, Sweden) is an artist and curator working between Gothenburg, Amsterdam and Banja Luka. Her interdisciplinary practice spans moving image, installation, sound and socially engaged methodologies. Through collaborative processes, public interventions and digital image-making, she examines how relationships are formed between people, places and collective memory.
With roots in Bosnia, Balešić approaches migration less as a subject than as a condition from which to consider belonging, memory and collective life. Working primarily with moving image, she treats editing as a conceptual methodology, bringing together montage, sound, found footage, personal archives and digital image cultures to connect personal experience with contemporary visual and political histories.
