In “My Own Unknown,” photographs formed provisionary sketches of elusive subjects. Launching the second iteration of A Process Series, organized by Jessamyn Fiore at Rawson Projects, in which four women artists received two-week solo shows to “reflect on how politics influences their artistic practice,” Dragana Jurisic seemed to play with the exhibition’s abbreviated life-span through material and displays that foregrounded the ephemeral: instant Polaroids, unframed prints tacked to the wall, handwritten scrapbooks with pasted-in photos. But these notes formed a deceptively complex narrative, set against a Parisian backdrop, of three women: the artist’s aunt, Gordana Čavić, who disappeared from Yugoslavia in the 1950s and lived mysteriously until her death in Paris in 1987, perhaps working as a seamstress, perhaps as a spy, perhaps as “whatever she needed to do to survive”; a
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