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Transformation is the Foundation of the World

28. February - 21. March 2021.

The New Gallery of Visual Arts in the new space initiates the annual exhibition cycle by exhibitions of three young authors it would like to focus on.

Ana Aleksić (1992), Adrienn Újházi (1995) and Bogoljub Đoković (1995), at the exhibition “Preobražaj je temelj sveta” present the results of various research processes, every one of them from the perspective of their own author positions, but jointly recognizing the need for finding the way out of the labyrinth of author denominator or existence of their collective identities, the exhibition presents the works of authors of completely different problematic directions, by attempting to indicate to individual expressions of new authors at the domestic scene.

Without the spatial disturbance of the sovereignty of individual phrases, from the encounter of works these three artists exposed mutual existences, intertwined, proceeded and returned.


Ana Aleksić

The works of Ana Aleksić invite for reawakening of sensibility of fine art. As if the artist warns us that we take things for granted, that we need, frequently, the esthetic equivalent of removal of eye opacity. That we need to believe our own eyes again. That we need the encounter with refined tonality, delicate expressions, subtle ceremonialism. That we need to remind ourselves that the line is the most conceptual plastic sign.

In this loyalty toward the research of plastic values of visual expression, Aleksić realizes the work as the result of an intimate experience of creation of the sight of what is actually passing at the moment. There is a minute of the world which is passing and should be depicted in its reality. Therefore, it should not come as a surprise that the artist sometimes chooses the gracile form of scrolls, forms conditioned by the system of actions developed in the material. Nevertheless, it appears that it is not just the stroke of one moment, but more thickening of a series of moments in the experience and more permanent condition. In this contemplative thickening a restrained, ceremonial and calm perception of the world is read while from the collection of variations instabilities are modulated.

Ana Aleksić understands the ranges of plastic layers from lower to upper register, from geometrical to organic. And it reminds us that the work is the product of a series of consecutive “learning”.

Monochromatic drawings, carefully drawn in pen, announce landscape atmosphere, suggesting the structure of ground or natural formations. It is especially visible in the series of works “Prostranstva” (“Vast areas”) which clearly suggest geological layered surfaces applied equally in a horizontal layers. They are handled with care and great attention.

On the other hand, disembodied moves of pen in the series of works “Svici” (“Fireflies”) and “Odraz” (“Reflection”), indicating to the atmospheric elements carried by current, flames of refined chromatic scale, in which rhythms get complex. The artist says about the series titled “Odraz”: “The starting point for the drawing is the reflection at the window. The palette is partially based on it. Certain drawn forms are somewhat owing to the color spilled on glass. I avoid the absolute mimesis, this drawing is imagined as the reflection of the reflection. The reflection is ephemeral – why it should be taken away from it?” And this elusive fluidity was realized by the accuracy of the line and expressive sophistication.

The activity of Ana Aleksić clearly has the features of extended and rationally controlled time processualism. The progressions in time and space. However, even though in her works there is an assumption of sequence of visual expression, their mobility carries the potential of multiple variations. Therefore, every piece included in the series may function as a separate piece, but also as a part of the series. Without the final form, the piece changes and develops with every new exhibition, opened for changes. Therefore, certain hotspots are deployed in different zones of work, assuming different compositional or rhythmic functions.

We may agree that Ana Aleksić recognizes the role of preservation of primary needs and expressions. As there is no true intimacy that would refuse.


Újházi Adrienn

Adrienn Újházi travels in less familiar districts. What we encounter with this young artist is the concept of self-organized systems, in a constant process of transformation. Aware of dominant genetic and biotechnological changes of the structure of life nowadays, the artist initiates the questions of the tissue as a metaphor of a pure potential, transformation, incarnation of vitality. Tissues which emerge, evolve and change.

Újház is the heir of philosophy of nature, who treats nature as a separate area of existence. It is not about the development of the phenomenon in nature, but about the development of the nature as a phenomenon. The artist creates the organic material created by the fermentation of kombucha SKOBI (abbreviation of symbiotic culture of bacteria and yeast) and assists on one new hybrid form of existence.

It should be reminded of the fact that the activities of this artist belongs to the area of bio-art and artistic practice based on the work with biological systems and protocols. The procedure which “employs materials and processes of life” (Yves Michaud), as laboratory researcher of art of new forms of life. When the intervention in the field of primary forms of life become the type of post-media in artistic activity.

Even though artistic strategies based on engineering of forms of life are not a new phenomenon, the opening of art towards this post-media practices came very suddenly. As Joe Davis indicates – “Artists in relatively short period distanced themselves from the tradition of naturalism as mimetic depiction in the direction of direct manipulation of life itself”.

In accordance with that, “living artifacts” of Adrienn Újházi emerge as results of certain desire, operation as well the result of the case. However, it is interesting to notice that the author does not control entirely the flow of her work. The relation is mutual, partially directed and interactive. Újházi is aware of the adaptation practice of evolution, follows and activates the energy locked in certain context. Nonetheless, her subject of research is not unilateral and simplified consideration of dominant ecological narratives. The artist approaches the nature as existence itself and returns the game in the field of enigma of the secret of life. It is about a miniature artistic model of universe. Mini-geneses intertwining, colluding and harmonizing.

This topic of metamorphosis indicates further to the new thematic node. She asks the question of modified organism, modified cells. Such modified organisms impose themselves as a provocative enigma, burdened with dilemmas. Living organisms transformed not by the process of evolution, but assisted by the altered flow, mutation. The shades of results of these metamorphoses are presented at the exhibition in different formational phenomenon.

The visual beauty of augmented elements of swelling of life becomes prominent in the composition of clippings of the system in light boxes and bio-collages. The parts which contain the promise of the whole. The artist shows us notes from this journey, from its atelier/ research laboratory. The notes which become concise universe in the exhibition space. We follow evolution phenomena of the system pulsing and living. As the director of this new theatre of existence, Újházi directs our look towards the intertwining of building flows, process and active phenomena of living materials.

The initiator, witness and accomplice in communication within “living material”, Újházi presents to us experiments from her laboratory, as a poetic vision, as well as a part of a thoughtful and functionally completed system pulsating and living. The preparatory stages of unknown adventure. Frightening and eternal.

Just as concluded by Bowman in Odyssey 2010:

“He became the participant in the game of gods, whose rules must be learned by the way”.



The starting point is always the relationship between a human and a location. For there was never a human independent from the location where they lived. The geological basis, unique mineral composition of soil, predominant wind direction, evaporations, the angle of the rays of sunshine do not determine just life relations of humans, but they impact the way how these composite formations are installed in human physicality.

However, it is difficult to fixate the location.

Names become integral part of what we call genius loci. Naming of locations plays an important role, because it condenses the story of the location to something short, unforgettable and memorable. And there can hardly be a name more effective than the name Krvavac. The name of the mountain which remembers the escape of population of surrounding villages from the Turks, treason and slaughter, places and events located also in the basis of “Krvavac” series of works.

Bogoljub Đoković, in fact, explores the models of fixation of the location which is elusive and inexhaustible and asks the questions of the expression of totality communicated by one location. The task is rather difficult because this communication addresses the rudimentary in a human and activates hardly accessible reaction due to vulnerability by beauty or horror before the terrible. The locations, therefore, cause the feelings similar to epiphany.

Every location has its own dynamics, its movement patterns and these patterns include senses and treat them in certain manners. Therefore, addressing a location is like orchestration of complex sensory sensations. And therefore, perhaps, the author chose the orchestra sentence system, buzzing of pictorial texts, which not only communicate the story about the location, but also suggest its rhythm. Especially taking into account that the artist used the typing machine with the echo of staccato sound of keys.

Đoković uses sentences from the description of the historic escape and treasons of the people in the context of the solution to the problem of visual work, establishing the relation between the script of the text and visual formations of the mountain. Their interrupted fragmentation is in the function of organization of the pictorial order of sights. The examination of Đoković’s opus in the evolution of graphic or visual letter would lead us too far now, in the rich current of pictorial texts which are connected to different artistic practices or contemporary forms of textual production. It is enough to recognize that the artist activated the text as an independent communication sign, lucidly thrown into the stream of consciousness.

Finally, we can suggest also that the author addresses the location as an analogue fundamental human psychological need for orientation and identification. For the identity of the location (loci) is determined by the human need for identification of the solid and structured location – stabilitas loci. The request enforced by the general moment of the unfoundedness and fear.

This unclear sentiment of the location may even more emanate from the video work with the depiction of pond, experience which the author remembered even in childhood. Observing this piece, let’s just listen to the verses of Vislava Šimborska:

“I remember very well the fear from the childhood.
I bypassed puddles
Especially fresh ones, after the rain.
Some of them might have been bottomless,
Even though it resembled others.
I will take a step and suddenly collapse entirely,
I will start flying into the depth
And even deeper in the depth,
In the direction of reflected clouds
And maybe even further.
Then the puddle will dry up,
Close beneath me,

And I will remain closed forever – where-
With scream trapped below the surface.


We will also indicate to the connection between the visual execution with technical possibilities of the video work, when the work becomes the screen of consciousness. It is not washed out it any actual tangible material – its embodiment before our eyes is just a subtle trace.


Bela Hamvaš notices in one moment poetically – I think that being mature means being young twice. To get mature means being young twice. And we think about that as we meet works of these young authors, recognizing a mature situation. Aware that it is not enough to experience the world, they start recreating it. For the center of the world is transformation. To get transformed. It is never over.

–  Anica Tucakov


Ana Aleksić (1992) completed bachelor and specialist studies of painting at the Faculty of Fine Arts at Cetinje. In 2016, during specialist studies, she spent a semester at École Supérieure d’Art de Lorraine in Metz, France. She had independent exhibitions in 2019 at the Center of Contemporary Arts of Montenegro in Podgorica, Club Gallery. Since 2014 she has taken part at exhibitions, workshops and colonies in Montenegro and in the region, among which there are: exhibition “Masterpieces II“ at the Artistic space U10 in Belgrade (2020), exhibition “Zbogom Balkan? Zbogom, Balkan!” (“Goodbye, Balkan? Goodbye, Balkan!”) at the Center of Contemporary Arts of Montenegro (2018), Festival “Via Pontica” in Balchik, Bulgaria (2015), residential staying at Dukley Art Centre in Kotor (2015) etc. She is the final- year student of master studies of painting at the Faculty of Fine Arts in Belgrade, and as the winner of the scholarship of the Government of France currently attends the annual program at École Nationale Supérieure des Beaux-Arts in Paris, France.

Adrienn Újházi (1995) completed master studies at the Academy of Arts in Novi Sad, Fine Arts department, study group – Painting as a student of Bosiljka Zirojević Lečić. She is the winner of several awards and grants and among them the annual award of the Department of Fine Arts for the most successful piece of art in the disciplines of drawing (2018) and painting (2018) of the Academy of Arts in Novi Sad, awards “For top results achieved at European and world competitions” during the academic 2017-2018 year. First awards of the organization of the Association of Alumni of the United Kingdom in Montenegro – MAUK, Competition “ZBOGOM BALKAN? ZBOGOM,BALKAN!“. She has active participation at exhibitions, projects and art colonies in the country and abroad. She had several independent exhibitions. She is the mentor of the workshop at the international residence “Montemero Art Residency” in Spain. She is also a member of Šok zadruga and Híd Kör Art – cultural magazine for the youth in the Hungarian language in Novi sad and SULUV.

Bogoljub Đoković (1995) born in Gornji Milanovac. He completed artistic high school in Čačak and master studies at the Faculty of Fine Arts in Belgrade, in the class of Mileta Prodanović. He had one independent exhibition, “Ono što ostaje” (“What remains”) at the Gallery of Intermunicipal historical archive in Čačak, 2019. In the same year he participated in a great number of group exhibitions and among them “MASTERPIECES II” Gallery U10, Belgrade, 2020, “INTERAKCIJA” (“INTERRACTION”), Dom omladine, Belgrade, 2019, “Real Presence” KC Magacin, Belgrade, “Perspektive XXXV” (“Perspectives XXXV”), National Gallery Belgrade, “VIDEO PARK”, Festival of Contemporary Art, Reflektor Gallery, Užice, ”Take away grafika”, AKADEMIJA center for graphics and visual research, Belgrade- “POGLEDI 2018”, Gallery 73, Belgrade, “Osten Biennial of Drawing Skopje 2018”, Skoplje, Macedonia. He is the winner of the scholarship of the Foundation for Young Talents of the Republic of Serbia – Dositeja.