Milana Simić (born in 1995 in Prijedor) is a visual artist based in Novi Sad. Her artistic practice developed through painting and gradually expanded into other contemporary media, including object, installation, photography, and video. Textile represents the starting point and one of the central areas of her work, through which she explores interpersonal relationships, social patterns, and the position of the artist in relation to her surroundings. Across different media, she uses textile as a material that can be transformed and reinterpreted, connecting personal experience with broader social and ecological questions.

A significant part of her practice is concerned with the ecological aspects of contemporary production and consumption, with particular attention to the phenomenon of fast fashion. Through the transformation and reuse of textile materials, her work examines the relationship between everyday objects, systems of production, and the individual.

She completed her undergraduate studies in Painting at the Academy of Fine Arts in Trebinje and her master’s degree in Painting at the Academy of Arts in Novi Sad. She is a member of the Association of Fine Artists of Vojvodina. Her work has been presented in numerous group exhibitions, while she has held fourteen solo exhibitions in Serbia, Bosnia and Herzegovina, and the wider region.

Alongside her studio practice, Simić has been involved in various initiatives within the field of visual art, including art colonies, festivals, projects, and publications. In collaboration with the “Lab” Cultural Centre in Novi Sad, she organised five solo exhibitions of young artists from Serbia and the region during 2020 and 2021.

Her professional experience includes working at the Museum of Contemporary Art of Vojvodina in 2021 and 2022, first as a gallery curator and later as an independent photographer. In 2025, her work was acquired by the Ministry of Culture of the Republic of Srpska for the collection of the Kozara Museum in Prijedor.

Simić lives and works in Novi Sad, where she continues to develop a practice in which textile functions not only as a material, but also as a way of connecting personal experience with broader social and ecological questions.