selected curated projects, texts, etc.
with Louise Ashcroft, Radek Brousil, Lea Collet, Rosa Doornenbal, Caz Egelie, Teal Griffin
*NEWS Issue 0, paper project with contributions by Barbara Kapusta, Julius Pristauz, Tamara Spalajkovic, Julija Zaharijevic
*You are not my brother, brother - Transitory masculinity in the art of Ivana Ivković (EIKON #107, I Did It For You - Q21, Vienna)
*Why is everyone being so nice? (Voždovačka galerija, Belgrade)
*1999 - The Oracle told me I'd fall in love with the One, Luka Cvetković, Milica Mijajlović, Tamara Spalajković, Rafal Zajko (Fotopub, Novo Mesto, Slovenia)
*Aftersun, Miriam J Carranza, Rosa Doornenbal, Eva Hoonhout, Vasilis Papageorgiou, Park Geun Woo (Voždovačka galerija, Belgrade)
*Fictional curating (Legat Franklin, Voždovačka galerija)
*You're a Giant (Voždovačka galerija, Belgrade)
*Functions and Fictions (EASA Denmark, Fredericia)
*Underwater love, beyond the typology of swimming pools (Public school for architecture Brussels)
*Manicures and other privileges (Dating the Chorus, documenta 14 mediators' publication)
*We're all involved in this mess (Enclave projects, London)
*Photoshopism, ICA London Bulletin (Bloomberg New Contemporaries 2016)
additional visual documentation/ selection
Forum: Bread and Games
Ugly Duck, part of Open Space annual programme for 2020 (Manufacturing Memory)
Photo © Samuel Nightingale, Courtesy of Open Space.
NEWS Issue 0
A letter to an exhibition
Open Space, London
With contributions by Julija Zaharijević, Tamara Spalajković, Julius Pristauz, Barbara Kapusta
(in order of appearance)
PDF available on request
in print: Open Space
Photo: Ben Peter Catchpole. Courtesy of Open Space.
1999 - The Oracle told me I'd fall in love with the One
Rafal Zajko, Milica Mijajlovic, Tamara Spalajkovic + Luka Cvetkovic
OŠ Grm, Novo Mesto, Slovenia
Ksenija Jovišević, Barbara Kapusta, Driton Selmani, Jelena Pantelić, Julija Zaharijević
Eugster || Belgrade, Belgrade, Serbia
From the exhibition text:
"Visual arts and fashion occasionally cross paths. Out of the two, fashion certainly has a healthier relationship with reality, being honest about what it is: it’s a commodity, it gives us what we want, therefore it tells us where we stand as a society. In the past few years, mostly thanks to Instagram and other online platforms, general awareness about trends in lifestyle and clothing increased. As information became almost annoyingly accessible, aesthetics did the same.
Balenciaga, for example, successfully created a hybrid of privilege and ordinariness in a single brand. Conveniently, their ad was on the back cover of the latest Mousse issue, with the camera slightly out of focus, in a mildly underwhelming setting; the models are indifferent, nothing looks exceptional, yet everything smells like high life. It’s unremarkable and it’s exciting at the same time. That’s the contemporary attire of luxury and that’s probably the state of the world as well.
To say that art is also a luxury is one way to put it, the other could be:
a free form of expression, derivative but independent from the so-called everyday life. Almost as if we refuse to say that art gets compromised, constantly, by the evaluation system, the academic elite, by the people who ‘don’t get it’, by the market and predefined assumptions.Unlike fashion, art gets explained but rarely excused and offers itself for interpretation, for classification, for a debate over its worth. Perhaps for this reason, we find ourselves in awe of wearable items and accessories, not as people, but as professionals. Clothes and bags are the ultimate commodities, aestheticised but still purposeful, renewed every season, verging on vain.
As in any show, the title attends to the viewers’ expectations. In this case, the exhibition is prefaced by an adjective describing usual, customary, even uneventful things, which places the focus on the relationship between the observer and the object. By posing the question of an object’s value and relevance, we question our attitude towards it. Do we approve it, and what does that say about us? In order to be relevant, art needs to remain critical, but in order to be critical, it needs to understand the language of the world. And as Seth Price noted, even if in a book of fiction, it became “officially okay simply to like a painting”, and “enough to say, That painting is awesome, just as you’d say, That spaghetti is awesome” (Fuck Seth Price, 2015).
see and read more at
So much furniture and light in dis room
Kristina Nikolić and Voždovačka galerija
Dom omladine Beograda, Belgrade, Serbia
From the exhibition text:
We nurture material relationships between people and social relationships between things. We treat objects as if they were human. We want them. We fetishize them. We treat them as something of value. We expect them to make us happy.
Objects are witnesses to our experiences, which we use when we want to go back to the past, which make up our present and will probably be there in the future. They are used to adjust collective sentiment and behaviour - euphoria. We put objects on our bodies, so as to feel stronger and more self-confident. Objects have names, and even their names can invoke feelings in us. When placed together, attached one to another, objects build a certain network, intensifying the things that we have already lived through and bringing them back. They create a situation in which any interpretation is possible, because everyone has had a different experience with each of the objects from the network"
more photos and full exhibition text:
photo credits: Ivan Zupanc
You're A Giant
Julija Zaharijević, Mariah Scary, Nemanja Knežević, Saša Tkačenko, Tamara Spalajković
Voždovac Gallery VS Faculty for Traffic Engineering
Nemanja Knežević, Marija Bjelić, Natalija Paunić
Vozdovacka galerija is a platform operating in various spaces in Belgrade, in the context of exhibition-making within neglected built infrastructures.
It puts the place itself on display along with the art, questioning the limits to what is perceived as part of the showcase, and what is part of the venue.
You're a Giant was titled after the punchline from the Netflix series The Sinner (2017 - ) in which Cora, the protagonist, suddenly kills a man on the beach. The motive of her crime is a mystery, as it is unknown both to her and the viewers. You're a Giant is the first exhibition curated by Vozdovacka galerija.
Scenarios of the Pool - After Blue Interval
Former Pioneer Health Center, Peckham, London
Project developed in collaboration between Lea Collet, Marios Stamatis and Natalija Paunic.
Scenarios of the Pool
Enclave Projects, Deptford, London
Project developed in collaboration with Lea Collet and
Nails am Bahnhof
Membrane (Stellwerk), Kassel, Germany
Nails am Bahnhof took place at Membrane (at Kulturbahnhof) in Kassel, coinciding with documenta 14. / many thanks to membrane.network /