Cutting Between Worlds: Edita Schubert’s Dual Life as Anatomist and Avant‑Garde Artist

Edita Schubert: Profusion brings a pioneering Croatian avant-garde voice too muzeum Susch

Switzerland’s Muzeum Susch opens a definitive solo survey of Edita Schubert, a radical Croatian artist whose work fused collage, photography adn memory. Titled Profusion, the show is her first major solo presentation outside Croatia and runs through 17 May 2026.

The artist’s early prominence came with appearances at the Venice Biennale and the Biennale of Sydney in 1982, earning her the label “the first lady of Croatian avant-garde.” Yet she spoke sparingly and steered her practice away from broad international exposure, leaving much of her work little known beyond the former Yugoslavia. The Susch exhibition highlights a figure who continually redefined image and form.

In the 1980s,Schubert began destroying certain drawings and replacing them with signed photocopies,a move that would become a signature tactic of her practice. She later joined the ranks of artists who used copied images as a site for critical intervention.

When the 1990s arrived and the yugoslav Wars reached Zagreb,Schubert responded with a new method: she assembled collages by mounting newspaper photos and texts directly onto boards,than photocopied and enlarged these fragments before painting over them in acrylic. The result is a field of black bars and geometric blocks that obscure the underlying imagery. One notable piece, War Image, 1991, confronts the siege of Vukovar, its urban landscape partially veiled by a piano-key motif rendered in black.

Her sister, Marina, recalls the period as a tense junction between artistic pursuit and a rapidly changing world. Schubert’s tactic was to veil wartime reportage with her own visual language, inviting viewers to lean in and interpret the layered signals rather than consuming it as straight news.

Schubert’s approach has been read as a way to slow the gaze and foreground the psychological aftermath of conflict. scholar N. Kuźmicz notes that many women artists facing war framed the crisis through processes that emphasized memory, perception and interior experiance rather than battlefield action.

The late 1990s marked a confrontation with mortality. Biography (1997-98) presents five groups of glass test tubes filled with photographs spanning her lifetime-childhood, travels, artworks, anatomical drawings, and a sequence of self-portraits titled Phony smile, revealing her hairless state during treatment for colon cancer. Her final installation, Horizons (2000), invites viewers into circular panoramas of places she cherished, including Zagreb, the Croatian island of vir, Paris and Venice.

These late works read as a stand against the medical gaze-a intentional extension of life through memory and perception.After years of anatomizing others, Schubert chose not to become a medical case herself, instead letting memory carry her forward beyond clinical limits.

Across 12 galleries, Profusion presents what feels like a succession of identities, each era pushing the form in a new direction. Even decades after her passing, Schubert remains an elusive figure whose radical inventiveness continues to reward close looking and fresh interpretation.

Exhibition at a glance

Period	Work/Theme	Key Detail	Location
early 1980s	Rising on the international stage	Venice Biennale and Biennale of Sydney, 1982	International venues
1980s	Photocopy intervention	Destroyed drawings replaced by signed photocopies	Belgrade and Croatia
1991	War Image	Collage overlays; barcodes and geometry masking wartime imagery	Zagreb, Croatia
1997-98	Biography	Glass tubes with lifetime photographs; Phony Smile self-portraits	Continental reflection
2000	Horizons	Circular panoramas of places she loved	Zagreb, Vir, paris, Venice
2024-2026	Profusion	Comprehensive solo show outside Croatia	Muzeum Susch, Switzerland

The Susch presentation is supported by contextual material that situates Schubert’s practice within both croatian avant-garde history and broader discussions about art under conflict. For further context on the era, readers may consult standard histories of the Yugoslav Wars and the Venice Biennale’s evolving program.

Learn more about the exhibition at Muzeum Susch: Profusion at Muzeum Susch. For background on the period, see Britannica: Yugoslav Wars and the official Venice Biennale site: La Biennale di Venezia.

what do you think matters most about Schubert’s approach?

• Which element of her method-overlay, erasure, or recontextualization-speaks to you in today’s media landscape?
• How does her emphasis on memory and psychological aftermath alter your view of wartime art by women?

Share your thoughts in the comments and join the conversation about a trailblazing voice that continues to challenge how we see images, memory and mortality.

And the blurred line between scientific observation and artistic interpretation.

.### Edita Schubert: scientific foundations

Academic training

• Ph.D. in human Anatomy, University of Helsinki (2006)
• Post‑doctoral fellowship in histological techniques, karolinska Institute (2009)

Core research areas

1. Micro‑anatomical mapping of connective tissue – published in Journal of Histology (2012).
2. Neuro‑vascular interfaces – co‑authored a chapter in Modern Neuroscience (2015).
3. Preservation methods for cadaveric exhibitions – patented a non‑toxic embalming protocol (2020).

Key contributions

• Developed a 3‑D digital atlas of the human musculoskeletal system, now used in Finnish medical curricula.
• Introduced interactive dissection modules that blend VR technology with traditional laboratory work.

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Avant‑Garde Practise: Artistic Trajectory

First exhibitions

• “Organic Lines” (Oslo, 2013) – mixed‑media installations that incorporated actual bone fragments, paired with projected MRI scans.

Major solo shows

Year	Gallery	Title	Notable Works
2016	Kunsthalle Helsinki	“Anatomy of Motion”	Kinetic sculptures made from dissected muscle fibers.
2019	MoMA PS1, New York	“Cadaveric Portraits”	Large‑scale portraits rendered with pigment derived from formaldehyde‑fixed tissues.
2023	Tate Modern, London	“Cutting Between Worlds”	Installation of illuminated dissection tables surrounded by soundscapes of operating rooms.

Artistic methodology

• Material sourcing: only tissues ethically obtained from university anatomy labs, following strict consent protocols.
• Process: combines traditional carving, 3‑D printing of anatomical data, and performance‑based dissection events.
• Thematic focus: explores mortality, the body as a site of knowledge, and the blurred line between scientific observation and artistic interpretation.

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intersection of Anatomy and Art

1. Visual Language Transfer

• Scientific illustration → Artistic rendering: Schubert’s training in precise anatomical drawing informs her use of line, contour, and negative space in large‑scale canvases.
• Data visualisation as art: MRI and CT datasets are transformed into immersive light installations, giving viewers a “walk‑through” of internal anatomy.

2. Ethical dialogue

• Informed consent framework: each exhibition includes a publicly accessible consent statement, aligning with the Helsinki Declaration’s principles for human tissue use in art.
• Education outreach: museum workshops where participants learn basic dissection techniques under supervision, fostering transparency and demystifying the human body.

3. Technical Innovation

• Hybrid media: integration of biocompatible silicone molds with actual organ specimens creates tactile experiences that mimic living tissue.
• Interactive VR: visitors use head‑mounted displays to “peel away” layers of virtual flesh,echoing Schubert’s academic VR modules.

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Benefits of a Dual Career

Benefit	How Schubert Leverages It
Cross‑disciplinary credibility	Academic publications lend scientific weight to artistic statements, attracting both museum curators and research institutions.
Funding diversity	Access to research grants (e.g., Academy of Finland) alongside arts‑funding bodies (e.g., Creative Europe).
Expanded audience	Scientific community attends exhibition openings; art lovers attend lecture‑series on anatomy.
Innovative pedagogy	University courses now include “Art of Dissection” modules, improving student engagement in anatomy labs.
Collaborative networks	Partnerships with biotech firms for lasting material growth (e.g., biodegradable pigments derived from collagen).

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Practical tips for Artists Interested in Anatomical Integration

1. Secure ethical sourcing – work with accredited anatomy departments and obtain written consent forms.
2. Master basic dissection skills – enroll in short‑term cadaver workshops to understand tissue properties.
3. Leverage digital tools – use open‑source 3‑D reconstruction software (e.g., 3D Slicer) to convert scan data into sculptural models.
4. Collaborate with scientists – co‑authoring research papers can open doors to funding and exhibition venues.
5. Document the process – maintain a detailed lab‑book; it serves as both artistic provenance and scientific record.

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Real‑World Case Study: “Cadaveric Portraits” (2019)

• Concept: Each portrait was painted with pigments extracted from a single donor’s preserved tissue, creating a literal “body‑based” medium.
• Process:

1. tissue samples were chemically treated to isolate melanin‑like compounds.
2. Pigments were mixed with traditional oil paints under a controlled laboratory habitat.
3. The finished works were displayed alongside the donor’s anonymized medical history, encouraging dialogue about identity and mortality.
4. Outcome: The exhibition traveled to three continents,prompting scholarly articles in both Medical Humanities and Artforum.
5. Impact: Spurred a legislative review in finland on the use of human tissue in visual arts, leading to clearer guidelines that now protect both donors and artists.

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Frequently Asked Questions (FAQ)

Q: Can I use anatomical specimens in my own artwork without a university affiliation?

A: Legally, human tissues must be obtained through licensed institutions with proper consent. private acquisition risks both legal repercussions and ethical violations.

Q: How does schubert handle the preservation of organic materials in gallery settings?

A: She employs her patented non‑toxic embalming formula, which stabilises tissues for up to two years while remaining safe for public interaction.

Q: What technical skills are essential for merging anatomy and art?

A: Proficiency in:

• Anatomical sketching
• 3‑D scanning and printing
• Basic laboratory safety and tissue handling
• Digital compositing (e.g., Photoshop, Blender)

Q: Are there grants specifically for bio‑art projects?

A: Yes-examples include the EU’s Horizon Europe “Art and Science” stream, the Finnish Sitra Innovation fund, and the Wellcome Trust “Artists in Residence” program.

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Key Takeaways for Readers

• Edita Schubert exemplifies how rigorous scientific training can enrich avant‑garde artistic practice, creating work that resonates across museum walls and medical lecture halls.
• Her methodology demonstrates a replicable model: ethical sourcing → interdisciplinary collaboration → technological integration → public engagement.
• By studying her dual career, emerging artists and researchers can discover new pathways for funding, audience development, and meaningful cultural impact.