Saša Bogojev's Curatorial Journey

Some discover art through museums. Others through books. For Saša Bogojev, the gateway was far more unconventional — the underside of a skateboard. Growing up immersed in skate culture, he became captivated by the visuals in adverts for Toy Machine, a company founded by Ed Templeton — now a renowned painter, illustrator, and photographer. The ads were filled with surreal drawings, raw collage and cryptic messages. They felt subversive, poetic — and deeply alive.

That fascination quietly grew in the background as Saša pursued a career in digital marketing. But in his spare time, he found himself drawn to art blogs and forums. Eventually, he began contributing his own writing. His voice — honest, unpretentious, and visually astute — caught the attention of Juxtapoz Magazine, where he became a contributor for six years. It was a turning point. What began as instinctive curiosity blossomed into a full-time vocation in the art world.

The Role of the Curator: A Shifting Identity

Today, Saša describes himself as both a curator and a writer — two roles that feed into each other. He is the current chief curator of the CAN Art Fair in Ibiza and has worked with galleries and institutions across the globe, from Berlin to New York, from Mallorca to Tokyo.
But unlike traditional curators, Saša’s approach is refreshingly grounded. He’s not interested in elitist theory. What matters is what the artwork makes you feel — its craftsmanship, its imagination, and its power to linger in the mind.

His first curatorial opportunity came from a simple Instagram connection — a Tokyo-based artist and gallerist saw his posts and invited him to curate a show. It was proof that digital tools, when used with care and taste, can bridge worlds.

Over time, his role has evolved. “Being a curator today is more about building trust,” he says. “With artists, collectors, and audiences. It’s about opening doors and creating moments of recognition.”

How He Spots Talent: A Curator’s Compass

Saša has earned a reputation for spotting talent long before the mainstream art world catches on. During his time writing for Juxtapoz Magazine, he was among the first to feature now-prominent artists such as Christian Rex van Minnen, whose grotesque yet exquisitely executed portraits blur the line between the classical and the bizarre; Danica Lundy, a Canadian-born figurative artist known for her kinetic compositions and emotionally charged narratives; Austin Lee, who merges traditional painting techniques with digital aesthetics in a distinctly futuristic style; or Anna Weyant, now a contemporary figurative painting superstar. His instinct for emerging voices continues to shape the exhibitions he curates today.

He doesn’t rely on trends or theory. “I look for imagination,” he says. “Something that disconnects from pure reality but still feels emotionally truthful.” He gravitates towards figurative painting, often with surreal or abstracted twists. Colour, composition, and technique matter — but only if they serve something deeper.

On Instagram, he saves images into folders — some are humorous, others unsettling, some simply rich in colour or distinctive in another quality. These spontaneous collections often morph into curatorial concepts. When a certain folder reaches critical mass, it becomes the seed of a future exhibition. Other times, it starts with one artist whose work he believes deserves the spotlight — and from there, he builds a show that amplifies their voice.

The Central & Eastern European Lens

Born in Croatia and now based in the Netherlands, Saša offers a unique perspective on the Central and Eastern European (CEE) art scene. He notes that while CEE artists often lack the institutional support of their Western peers, they compensate with authenticity and resilience.

“They’re not following trends from London or Berlin,” he says. “They paint from necessity, from urgency and rarely “beautify” their visuals. And that gives the work its power.”
For collectors willing to look beyond the obvious, the region is rich with voices worth discovering. The market may still be emerging — but the artistic quality is undeniable.

Who to Watch — and What’s Hanging in Saša’s Flat

In his personal collection, Saša surrounds himself with works that reflect his curatorial eye and personal connections. He owns pieces by Ákos Ezer, the Hungarian painter recognised for his contorted, elongated figures and expressive rawness, and Filip Mirazović, a Serbian-born Paris-based painter who just opened his Seoul debut, as well as works by Adam Štech, Jakub Tomáš, or Sebas Velasco’s portrayals of Eastern Block cityscapes. From his native Croatia, he highlights Grgur Akrap — whose symbolist compositions carry spiritual undertones, or Miron Milić with his visual critiques of contemporary society.

For Saša, these works are less about prestige and more about connection; many were received as gifts or trades, underscoring the deep relationships he’s built across the art world.