Danilo Prnjat intervenes in the domain of political reality, explicating specific social problems by performing vast variety of projects. This includes controversial, sometimes legally problematic actions, interventions and (media) manipulations, and further more social participatory projects. Entering the field of activism, the artist often acts by means of excess, like a guerrilla who invades the system, acting from the inside. Critical intervention of Danilo Prnjat is indirect, while the implicit criticism, that requires certain intellectual engagement from the recipient, directly working for his cause.

The previous work shows genesis of development in theme and form of art, that the artist has been practicing. The relationship between nationalism and capitalism and the problem of sovereignty are characteristic for his earlier works, which have been mostly conducted in the form of performances, interventions in public space and process works. “Tempo project”, which realization took place just before the declaration of independence of Kosovo province when the foreigners’ owned companies were targeted by the nationalists, had the artist submit a false tip-off to the supermarket “Tempo”, owned by the Serbian investor (tycoon). By doing so, artist wanted to inverse a public reception of the cause of the Kosovar problem, formed by the media – from foreign affairs determination of a problem to ideological aspect of national policy. In “Fathers and Fathers”, the artist followed the son of Serbian politician Nenad Canak (Vojvodina’s autonomist party leader) and filmed him while looking for Roman coins in the fields of autonomous province of Vojvodina, using a metal detector. The “Ransom” project consists of purchasing three works made by artists from Kosovo and proclamation of this act of buying as Danilo Prnjat’s own artistic work in Serbia. By doing that, artist tried to provoke the mechanisms of ‘disauthorization’ of specific Kosovian culture via its transformation into private property; and vice versa. The intervention “Lilly” was organized guerrilla entrance of 200 men in the largest Serbian perfumery – pointing the interdependence of “military” education of men and corporate policy of capitalist societies. From 2012 onwards, Danilo Prnjat is focused on the participatory and group projects such as the project “Social Economy – Model: Cacak” where the group tries to develop alternative methods and strategies of material exchange in a Serbian small town society where – due to opening the country to a free market of the EU – a lot of surpluses (food) emerged, while poverty and famine rapidly increased. In the project “Open School of Economics” artist organized joint learning of alternative economic theories in public space and tried to map positive, alternative and self-sustainable practices of material exchanges that operate successfully on a micro-level and have no wider visibility in the community.

In his work Prnjat tries to overcome the established boundaries of art, and explore relations between the art and social reality. He is one of the founders and editors of the contemporary art and art critic web portal DeMaterialisation of Art ( www.dematerijalizacijaumetnosti.com ).