The exhibition presents digital works produced between 2015 and 2017. Apart from the works representing a research in digital media, each of these works is also a segment of its own that unfolds on two levels; confronting the conceptual and material (media) experiment in investigating and unifying individual and collective mental dictionaries. The three works are presented as three stories, which through the narrative of analogy form a compound message and illustrate different modes of behaviour codification: Is it an escape from the ‘void’, the illegalised context – absurdity and abjection as defined by Julia Kristeva[1]? Or is it hiding in Althusser’s[2] linguistically produced subject or Lacan’s symbolical “real” Aggresivity[3]? At stake here is constructing and performing identity in everyday life, where questioning meaning is continually present. In these particular works, this notion is suggested through a narrative enriched by differentiated modes of the repetition of events, scenes, objects, statements, frames and movements. The works problematize the intimate and protrude it on several levels: through ideologically formulated statements in the work “500m Deep in Sleep”, followed by fantasy and sublimation in the work “Naive Box”, and finally through satirically inserting biographical and personal elements into the public sphere in the work “The Death of a Cat in the Balkans”. The ambiguous nature of digital media, which both mediate and divide two types of realities – the digital and the real, is here utilised as a firm basis for the encounter of the unreal and artificial aspects with the documentary.

[1] Julia Kristeva, POWERS OF HORROR An Essay on Abjection, Columbia University Press, New York, 1982.
[2] Luj Altiser, Ideologija i državni ideološki aparati, Loznica: Karpos, 2009. (Louis Althusser, Ideology and Ideological State Apparatuses, originally published: 1970. La Pensée)
[3] Jaques Lacan, The Four Fundamental Concepts of Psycho-analysis, W.W.Northon, London, 1998.

Photo: N. Ivanović