The Girl and the Tree
mixed media
92 cm x 71 cm


35 mm colour film

The film Z32 is a story of a young man, a former member of the elite unit of the Israeli Defence Forces, who recounts and reconstructs a murderous operation to his girlfriend and the viewers. The young man, as an anonymous confessor, reveals a contradiction between the adrenaline experiences at the battlefield, as a soldier would recount it, and the need for forgiveness, felt by a civilian. One of the questions the director asks is whether a film or cinema can become the hiding place for a war criminal. Mograbi’s remarkable film – a “documentary musical-tragedy”, as he himself describes it, takes us through a labyrinth which consists of a sense of duty to the homeland, an admission of guilt, a plea for forgiveness and the military reality, which is rarely a subject of discussion.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift Contract:
Inventory No. 207
Photograph: still from the film


Avi Mograbi (1956, Tel Aviv, Israel) lives and works in Tel Aviv. He studied art and photography, and gained his first production experiences working as an assistant director on numerous commercials and feature films. His own filmmaking career began in 1989. Since 1999, he has taught documentary and experimental film at Tel Aviv University and the Bezazel Academy of Art and Design in Jerusalem.

He is equally committed to social, cultural and political justice in the Middle East and to the experimental and innovative approach to cinematic language. He is actively involved in Breaking the Silence, an organization dedicated to collecting the testimonies of Israeli soldiers who served in the occupied Palestinian territories. His films have been screened at numerous film festivals around the world, including Cannes, Berlin, Venice, Rome, New York, Marseille, San Francisco, Prague, Krakow, Sao Paulo, Rotterdam, Bilbao, Taiwan, Split…

More about the work at


77 Questions
HD video

The work was exhibited at the 56th October Salon, The Pleasure of Love.

The concept of the work 77 Questions is to introduce the viewer to the state of an existential observation of reality and the emotions that shape it, through the simple method of questions and answers.

Gradually creating a high emotional charge, the work reconsiders the position and ethics of artist in today’s society, but also the position of man in general in relation to the infrastructure thus created.

As the basis of the structure, the video uses found footage, public domain, audio generators, polygraph interrogation methods and similar artificial elements. The combination of these elements creates an atmosphere of deep isolation and discomfort, with the aim to ask questions about the hypocrisy, narcissism and a lack of emotion in the world (of art), defined by competitiveness and by capitalism.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Purchase Contract: III-5-455/14.11.2018.
Inventory No. 1623
Photo: still from the video work


Siniša Radulović (1983, Podgorica, Montenegro) graduated and obtained his master’s degree in painting from the Faculty of Fine Arts in Cetinje. He has participated in numerous group exhibitions in Montenegro, Serbia, Bosnia and Herzegovina, Germany, Albania, Switzerland, Spain, the Netherlands, Macedonia, Italy, Russia and Bulgaria. He won the Award for Painting at the 33rd Montenegrin Art Salon and the Award for Video Art at the 38th Montenegrin Art Salon. In 2017 he won Milčik – awarded to the best young visual artists in Montenegro. More information at


Without a Proposition for a Concrete Solution
HD video, sound, drawing – pencil on paper
25’, 500 cm x 120 sm

“By creating a unique space of ambient installation, the author draws the viewer into the game of memory and attitude towards memory without a proposition for a concrete solution for the viewer, but strongly brings them into the game of memory and ‘working’ with memory. The work also deals with the idea of friendship, which is not only private, and behind whose narrative lies all the heaviness of historical relations that network individual destinies, and thus shape or break down relations of friendship and love”

From the citation of the 56th October Salon Jury
The work was awarded at the 56th October Salon in 2016.
It was exhibited in Paris (Kadist Foundation), Ljubljana (Museum of Contemporary Art, Metelkova), Zagreb (Vladimir Nazor Gallery), Belgrade (56th October Salon and March Short and Experimental Film Festival).

The work Without a Proposition for a Concrete Solution, structured as a spatial installation and video, considers the concepts of friendship and solidarity in three chapters. I am taking the context of the Non-Aligned Movement and the complex political landscapes of the second half of the 20th century as a historical prism that refracts these topics. The starting point of the entire work is a hand-painted postcard from my private archive, dating back to the 1970s, written in broken Serbo-Croatian. The postcard was sent to my father as a gesture of friendship by an Egyptian friend/colleague. In the first chapter, the object and its written message bring us back to the time of non-aligned politics and the relations that the movement promoted and created. The concept of the world as an image of the political map, often found in the politics of the Non-Aligned Movement, is being established and deconstructed before the viewer throughout the work. The second chapter consists of conversation notes with a woman friend. Running through the content of the conversation – that is not heard but is present in the form of telops that enter the film’s structure – are toponyms such as Amsterdam and Sweden, topics of classes and immigration, as well as the organization of life in the capitalist system. This conversation, located in an apartment somewhere in Western Europe, reconstructs the potentials of freedom in the past, at the same time predicting a society that balances on the thin line between communion and situations of control and micro-violence.

The last chapter of the video is a metaphorical and alienated image of the mechanism of mass production of images, representing conflicts and pressures as social matrices in whose cracks we must find the space for encounter.

The spatial installation shapes the way we observe the film and other elements in the space. It is an inharmonious ambience of questionable functionality – it is a simulation of a museum and a fictionalized historical cabinet at the same time. It is a space in which the ideas and narratives of the work are unstable; they are floating, open for interpretation, looking for fragile connections and relations that open up a space for sharing of time, knowledge and emotions.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Purchase Contract: III-5-472/16.12.2019.
Inventory No. 1668
Photo: still from the video work, installation view 56th October Salon, Boris Burić


Siniša Ilić (1977, Belgrade, Serbia) is a visual artist who uses various media to deal with social phenomena and mechanisms, exploring forms of labour, tensions in society, violence and states of uncertainty. A co-founder of TkH – Walking Theory (2001–2017), art and theory platform in Belgrade; he has exhibited in the country and abroad: in Belgrade – at the Museum of Contemporary Art, Cultural Centre of Belgrade and October Salon; in Zagreb – Nova Gallery, Vladimir Nazor Gallery and HDLU; in Paris – the Georges Pompidou Centre, Kadist Foundation; in London – Tate Modern and Calvert 22; then at the Ural Biennial in Yekaterinburg and WUK and Open Space in Vienna. He explores the forms of collective work and deals with scenography and stage and performance design. He graduated and obtained a master’s degree from the Faculty of Fine Arts in Belgrade. A co-curator of the national exhibition of the Prague Quadrennial of Performance Design and Space, 2019. More information at


Socialism Failed, Capitalism is Bankrupt. What Comes Next?
edition: 1/5 + 1 a.c.

In the video work Socialism Failed, Capitalism is Bankrupt. What Comes Next? Ressler focuses on the political and economic situation in the Republic of Armenia, one of the successor states of the Soviet Union. The film was recorded in the summer of 2010, at the largest bazaar in Yerevan, called Bangladesh.

Every day, more than a thousand people try to survive by working as salesmen at the Bangladesh Bazaar in Yerevan, where they do not earn more than 100 to 250 Euro a month. In the video, they talk about how they survived the crisis in the post-socialist state, which closed most Soviet-era factories and destroyed social safety nets. Former factory workers describe the changes in living conditions that occurred after the collapse of the Soviet Union, talk about their hopes and expectations for social change. While they live in misery, a small but very influential class of corrupt politicians and extremely wealthy oligarchs is teaming up with international corporations to further enrich themselves with profits from the transfer of state property and mining licenses.

A former mathematics professor Levon Yeremyan, who now works at Bangladesh Bazaar, notes, “95 per cent of people work and get the minimum wage, which is ridiculously low by European standards, and 5 per cent live like Arab sheikhs. Most people would definitely agree with his description of the wide gap between the impoverished masses and the oligarchs in Armenia. This deep divide contradicts the official flattering data.

Concept, camera, sound recording, video editing and production: Oliver Ressler
Interviews, translation and editing assistance: Arpineh Galfayan
Audio mix and colour correction: Rudi Gottsberger
Research on factories: Nora Galfayan, Vahe Budumyan
The project was done during a residency in Yerevan in the framework of the project “Eat and Work”, directed by Anna Barseghian, supported by Utopiana and BM:UKK

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift Contract: III-5-82/3.3.2020.
Inventory No.
Photo: still from the video work

Selected Bibliography:
Oliver Ressler: Cartographies of Protest, Juan Antonio Álvarez Reyes, Marius Babias, Emanuele Guidi, Stella Rollig (Eds.), Verlag für Moderne Kunst, Vienna, 2014


Oliver Ressler (1970, Knittelfeld, Austria) is an artist and filmmaker. His installations, interventions in the public space and films raise issues such as economics, democracy, global warming, forms of resistance and alternative lifestyle. He has had solo exhibitions at the Berkeley Museum, Museum of Contemporary Art in Belgrade, Conde Duque Cultural Centre in Madrid, Forum for Contemporary Art in Alexandria, the Cube Space in Taipei, the Wyspa Art Institute in Gdansk, Lentos Museum in Linz, Centre for Contemporary Art in Seville, Salad Galata in Istanbul, National Museum in Bucharest, etc. He has participated in over 350 group exhibitions around the world and his thirty films have been screened at numerous events, art institutions and festivals. A retrospective of his works was organized at the Centre for Contemporary Art in Geneva in 2013. Lives and works in Vienna. More information at


550 cm х 200 cm x 0,3 cm

Mountain is a spatial wire drawing made on the basis of the artist’s photograph of Durmitor. The process involves analyzing the selected photograph by disciplined linear drawing.

The work Mountain was awarded at the 57th October Salon, The Marvellous Cacophony.

Elegant and sophisticated, ephemeral and insightful, the work depicts sharp and fragile forms that are able to penetrate consistently into the real world and scenes from everyday life, like landscapes. The work is poetic, beyond fashion, and contrary to what most young artists do today – politically correct works.

From the citation of the 57th October Salon Jury

The relationship between drawing, space and documentary photography that this work establishes, represents a stage in the context of the author’s years-long art and research practice. (…) As one of the possible sources of her media research, in her recent works – including this one – Nina has begun to examine individual items from her photo-diaries through her specific “wire drawings”. Metal wire, although difficult to shape, gets the precision of the drawn line in Nina’s meticulous processing. (…)

By the illusion of volume, created by overlapping of the wire andits shadow, this object transposes the proximity of the mountain massif.
Jovana Vasić, the catalogue of 57th October Salon

© Cultural Centre of Belgrade, October Salon Collection and the artist
Purchase Contract: III-5-367/24.10.2019.
Inventory No. 1659
Photo: Courtesy of the artist, Milan Kralj, installation view 57th October Salon

Selected Bibliography:
57th October Salon, The Marvellous Cacophony. Cultural Centre of Belgrade, 2018
Nina Ivanović, June 6-30, 2019, text by Marija Stanković, Catalogue of Nina Ivanović’s solo exhibition, Rima Gallery, Kragujevac, 2019


Nina Ivanović (1986, Belgrade, Serbia) graduated from the Faculty of Fine Arts in Belgrade, Painting Department, in 2010. In her work, she deals with everyday situations through various media such as drawing, photography and wire installation. She was a member of nKA/ICA (Independent Cultural Association) from 2006 to 2010; and in 2012, together with six other artists, founded the U10 Art Space, and has run it since. She is a winner of two awards for drawing – from the Faculty of Fine Arts, in 2009, and from the Vladimir Veličković Fund (First Prize), in 2014 – and participated in artist-in-residence programmes in Belgium (Glo’Art) and Basel (Kuckucks Nest). More information at


Naked like Golden Buddha
pigments and MDM binder on canvas
86 cm x 250 cm

”…With his canvases and spatial works, Destil Marković skilfully passes the thread of continuity, that characterizes centuries of civilization, offering a testimony and interpretation – highly referential and with a strong critical overtone – of the modern world, the totalitarian dehumanized neoliberal capitalist model where, by means of different methods of surveillance and control, a contemporary inquisition is established over the freedom of mind and thought.”
D. Purešević, From Eucharist to Inquisition, catalogue for the exhibition Milovan Destil Marković, Barcoded Paintings, Cultural Centre of Belgrade’s Art Gallery, November 2019

The work Naked like Golden Buddha, which was exhibited at the 56th October Salon, selected by Curator David Elliott, is part of the Barcoded Paintings Series, made with pigments on canvas. “Although apparently monochrome abstractions, the stripes on Marković’s barcoded paintings signify written words. Every text can be translated into a barcode and thereby enter the system of global trade. Barcodes are the product of a systematic process of codification, at the end of which only a rhythmic series of vertical lines remains. This abstraction allows for an internationalized, rationalized system of merchandise management that offers the appreciable advantage of cutting down the length of waiting lines in supermarkets.

By transferring these digital structures to the canvas, Marković pushes the system ad absurdum.

His demanding oil paintings are a product of hard work and they are anything but mass products. They don’t offer any possibilities for rationalization or optimization of labour and cannot be translated into product names and prices. However, they contain short citations from pornographic literature and citations on politics and banking sector – images from the world of power and suppression. Next to each painting, a ‘normal’ barcode is printed, as a hidden note on the possibility of commodification of art.
Benedikt Stegmayer, Catalogue of the 56th October Salon

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift and Purshase Contract: III-5- 411/15.11.2019.
Inventory No. 1666
Photo: Courtesy of the artist

Selected Bibliography:
Milovan Destil Marković, Radovi 1980 –2020, Museum of Contemporary Art of the Republika Srpska, Cultural Centre of Belgrade, Association of Citizens, Banja Luka: Belgrade, 2019
56th October Salon, The Pleasure of Love. Cultural Centre of Belgrade, 2016
Milovan DeStil Marković, Nadežda Petrović Art Gallery, Čačak, 2008. Texts: Benedikt Stegmayer, Boris Buden, Ješa Denegri, Jovan Despotović
Marković: Transfigurative Works, Verlag fur Moderne Kunst, Nurnberg, 2006. Texts: Boris Buden, Bojana Pejić, Claudia Wahjudi, Yoshiko Honda


Milovan Destil Marković (1957, Čačak, Serbia) is one of the key figures in the Belgrade art scene of the 1980s. He graduated from the Faculty of Fine Arts in Belgrade, where he initiated the opening of the cult club Akademija. The turning point in his life was the year of 1986, when he received the prestigious Politika Award for painting. He has exhibited at the Venice Biennale and moved to Berlin, where he still lives.

His 40-year-long activity in different fields of visual art (installation, performance, video, film), and primarily painting, could be briefly marked by the most significant segments of his oeuvre – from Eucharist (1985), through Prototype and Transfigurative Works (Text portraits in the Homeless Project, Lipstick Portraits, Barcoded Paintings), to Inquisition (2018), and characterized as the unification of the matrices of Byzantine spirituality with a strong charge of revolt.

He has had numerous solo and group exhibitions in the world – here is a selection from those held in the past five years: Distilled Face: Works 1980–2020, Museum of Contemporary. Art of the Republic of Srpska, Banja Luka (2019–2020); Barcoded Paintings, Cultural Centre of Belgrade (2019); Lorne Sculpture Biennale, Lorne, Victoria, Australia (2018); In Bank We Trust, Galerie Dirk Halverscheid, Munich, Germany (2017); 56th October Salon: The Pleasure of Love, Belgrade; Drei-Häuser-Kunst-Pfad, Eifel, Daun-Steinborn; At the Bottom of the Poem, Lennox House, Australian National University, Canberra; Roundup, Bundanon Trust, Bundanon, NSW (2016); a rose is a rose, is a rose, Woelkpromenade, Berlin (2015). More information at


The Artist Who Does Not Cite Malevich Is Not an Artist
computer collage – modified historical photograph
70 cm x 100 cm
edition: 1/5

The Artist Who Does Not Cite Duchamp Is Not an Artist I
computer collage – modified historical photograph
70 cm x 100 cm
edition: 1/5

The Artist Who Does Not Cite Duchamp Is Not an Artist II
computer collage – modified historical photograph
70 cm x 100 cm
edition: 1/5

Not abandoning citation as an explicit memory of culture (as the author himself points out), and communication through metaphor – important drivers of Prodanović’s art production, he created the cycle The Year of the Lion in the period 2007-2008. “Critical and sarcastic reflections on deviations of consumer culture and its impact on the social, cultural, aesthetic and visual norms and values, that characterized contemporary Serbia in the first decade of the 21st century and its hypertrophied brand fetishism form the backbone of the cycle.” Two ironical conceptual works in the form of computer-modified historical photographs stand out in it: The Artist Who Does Not Cite Malevich Is Not an Artist and The Artist Who Does Not Cite Duchamp Is Not an Artist, exhibited at the 48th October Salon Micro-Narratives, 2007.

“As in his previous work, Prodanović reflects on the phenomenon of losing of the original substance of symbols and meanings in the culture of the late 20th and early 21st centuries, due to frequent use and misuse of the meanings and original intentions of the avant-gardes, especially Malevich’s and Duchamp’s works.”

Lidija Merenik, Mileta Prodanović: biti na nekom mestu biti svuda biti, Foundation Vujičić Collection, Belgrade, 2011, p. 122

“A pair of lions at the gate is an archetypal image; they guard something precious. Of course, this can be seen as ‘bad taste’, explained as a need to express power, especially in the times of poverty and uncertainty. But in this gesture of ‘decorating’, on the elemental level, there is a private need for the beautiful. At the opposite end of the wide field of art, there are icons of the avant-garde. One gets the impression that most of the art production of the second half of the twentieth century is, in fact, a dialogue with a few giants, with their work but also with their ‘image’. In this dialogue, the persons who challenged the conventions were slowly becoming indisputable and untouchable. A simple collage gesture is not just the intersection of the ‘high’ and ‘low’ – it is an attempt to unobtrusively ask the question: What is it that is valuable about modern art?”
Lóránd Hegyi, Catalogue of the 48th October Salon

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift Contract III-5-221/14.8.2014.
Inventory No. 1335, 1372, 1373
Photo: Courtesy of the artist

installation: print on aluminum and drawing/gouache
70 cm x 1100 cm

The painter, writer, critic, one of the most prominent figures on the art scene of the eighties and one of the most important authors of postmodernism in Serbia Mileta Prodanović, in his work in the field of visual art, uses rich national and world historical and artistic heritage, especially Byzantine, through collage and citation procedures.

According to the art historian Prof. Dr. Lidija Merenik, from the ‘invention of history’ in his 80s and 90s cycle, Prodanović reached another, his own renewal of a painting, with his recent series of paintings Ekphrases, in 2019.

“Besides many previous experiments with paintings and environments, now, as in his best paintings (Angel of History, 1997; Rolling Skies, 2004), Prodanović goes on with the ‘invention of a painting’, characteristic of his overall conceptual and painting method. His paintings, like all his works, are primarily complex semantic fields, and only consequently visual fields.”

Lidija Merenik, text for the exhibition Ekphrases, Rima Gallery, Kragujevac, 2019

The work Orvieto consists of 11-meter-long photographs and drawings, whose parallel streams of dark and light lines of the Gothic façade level the metaphor of the continuity of our life flows, travels, distance, time. In this polyptych – fragments of the Gothic façade of the Orvieto Cathedral, among which drawings/gouaches or paintings are interpolated – the concept of citation and repetition is consistently and fully implemented. But this time there is no code, either enlightening or any other, which should be deciphered. Their uniqueness lies in the subtle transition and connecting of the photographic template with the manual world of the painting and in creating the mysterious relationship between the document and memory, the past and present, matter and form, the real and the imagined, the unreturnable and unendable…

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Purchase Contract: III-5-479/1/15.12.2014.
Inventory No. 1383
Photo: Courtesy the artist 

Selected Bibliography:
Lidija Merenik, Mileta Prodanović: biti na nekom mestu biti svuda biti, Foundation Vujičić Collection, Belgrade, 2011
45th October Salon, Continental Breakfast. Cultural Centre of Belgrade, 2004
48th October Salon, Micro-Narratives. Cultural Centre of Belgrade, 2007


Mileta Prodanović (1959, Belgrade, Serbia) graduated (1983) and received his master’s degree (1985) from the Faculty of Fine Arts in Belgrade; completed specialist studies in London, at the Royal College of Arts, 1989–1990; earned the title of Doctor of Fine Arts at the Faculty of Fine Arts in Belgrade in 2009. Since 1990 he has been working at the Faculty of Fine Arts in Belgrade, currently as a full professor. In the period 2015–2018, he was a vice-rector and from 2018 to 2019, the rector of the University of Arts in Belgrade. Since 2011 he has been a member of the National Council for Culture of the Republic of Serbia, and in the period 2015-2019, the president of that body.

Since 1980 his works have been presented at numerous solo and group exhibitions in Yugoslavia and in several European cities (Rome, Tübingen, Toulouse, Carcassonne, Venice, Vienna, Graz, Prague, Regensburg, Kiev…) and America (Clear Lake – Houston, Columbia – South Carolina). He exhibited at the Venice Biennale, Yugoslav Pavilion in 1986; participated in the 45th October Salon: Continental Breakfast (2004) and the 48th October Salon: Micro-Narratives (2007).

In 1983 he started publishing fiction, essays on visual arts and non-fiction; was a member of the editorial boards of the Beogradski krug Magazine, New Moment (magazine for visual media) and Kultura.

His works are part of the most prominent museum and private collections in Serbia, the countries of the former Yugoslavia and Europe. A laureate of a number of most prestigious national awards in the fields of literature and fine arts. Lives in Belgrade.


drawing and collage on paper
variable dimensions (4 pcs)

Storypads belongs to his series consisting of collages, artist’s books, video animations, objects and models that make a great visual and mental image, blurring the boundaries between fiction and documentarism, memory and history, past and future. Storypads is a series of collages and drawings that function as an installation or “film comic strip” in the spatial form.


Intervening on found objects / materials, such as old postcards, notebooks or photographs from personal archives, flea markets or rubbish, Tadić in his works jumps into slightly structured fictional narratives open to different interpretations. Their references – ranging from literature, film and art history to radio programmes and popular culture – become triggers that enable a process of free association, an endless exploration in progress, which works through obsessive and daily acts of drawing, experimenting with materials and potential forms and meanings that can then be produced. In a gradual process of accumulation, Tadić often uses small-scale formats, such as artist’s books or collages, which evolve into larger archives or series of animated films, grouped around specific themes or specific motifs.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Gift Contract: III-5-295/1/29.9.2014.
Inventory No. 1368
Photo: Milan Kralj

Selected Bibliography:
Marko Tadić, Imagine a Moving Image, 2016, Laura Bulian Gallery, Milano, Italy, text in the catalogue by Ana Dević
Marko Tadić, This is Not a Museum, 2016, Apoteka Gallery, Vodnjan, Croatia, text in the catalogue by Branka Benčić


Marko Tadić (1979, Sisak, Croatia) graduated from the Academy of Fine Arts in Florence in 2006. His art practice includes drawing, editing, collage and animation. He won the First Prize at the Youth Salon in Sisak in 2001 and the Youth Salon in Zagreb in 2006 and numerous other awards: “Vladimir Nazor” Award for the best exhibition (2015), award for the best design at the Croatian Festival of Animated Film FHAF (2012), “Radoslav Putar” Award for the best young contemporary artist (2008), etc. His films have been screened at many international animated and experimental film festivals. He works at the Academy of Fine Arts in Zagreb.

More information at


Damien Hirst, Cocaine Hydrochloride
gobelin realized by: Radomir Stojanović, 2006
114,200 stitches
37.5 cm x 37.5 cm
2006 (1993)

The New Gobelin Series, to which Damien Hirst, Cocaine Hydrochloride belongs, is a project that reveals schematic patterns for making gobelins after the paintings of some most important artists of the twentieth century, from the masterpieces by Malevich, Mondrian, Fontana, Albers, On Cawara, Hirst, Christopher Wool (minimalist, abstract and geometric) – all the way to Yves Klein’s monochrome canvas, which completely destroys the whole point of embroidering, destroys every pleasure of putting together a thread that gives the illusion of the third dimension – figuration. New Gobelin is something new, as the author himself states – a luxurious reproduction or even more luxurious original.

The concept of the New Gobelin Project is a very thoughtful and good projection of the modern moment. No matter how much everything seems as a good joke at first glance, it is clearly a social provocation. With his work, the author very consciously presents and expresses the meanings, values and beliefs of civil and consumer society, with a committed approach in expressing his idea. The importance of the aesthetics of the gobelin scheme itself, that is, the entire product, is emphasized. The focus on aesthetics in technical tidiness is evident. Each work individually, with the slogan “Make art for you” testifies to the author’s aspiration to make everything perfectly “packaged” and tempting to the modern consumer, by the aesthetic standards of good modern design, so that it becomes a desirable commodity. The New Gobelin Series also includes: Lucio Fontana, Concetto spaziale attesa, 1956, 2007, 99,000 stitches, 40 cm x 50 cm // Kazimir Malevich, Black Square on White, 1914/15, 2006, 102,400 stitches, 36,5 cm x 36,5 cm // Piet Mondrian, Composition No. 9 with Yellow and Red, 1942, 2006, 99,000 stitches, 33 cm x 38.5 cm. Marko Stojanović often points out that his interest in gobelins dates back to his early childhood, since he was surrounded by precious and luxurious gobelins, made by his grandfather, who stitched Wiehler gobelins all his life. The artist’s father also made gobelins, which, logically, inspired him to somehow continue the family tradition, cherished exclusively by male family members. All the works in the New Gobelin Cycle were realized by the artist’s grandfather Radomir Stojanović.

© Cultural Centre of Belgrade, the October Salon Collection and the artist
Purchase Contract: Legal basis: purchase from the City of Belgrade Competition, the Mayor’s Conclusion No. 6-1382/09-G – 12.9.2009.
Inventory No. 214
Photo: Milan Kralj

Selected Bibliography:
48th October Salon, Micro-Narratives. Cultural Centre of Belgrade, 2007
Andrej Tišma, Vez po modernizmu, review of the exhibition (artist’s archive), Novi Sad, 2006
Slađana Varagić Petrović, „Šeme za Novi goblen”,, October 2005 (accessed on May. 15, 2020)


Marko Stojanović (1982, Negotin, Serbia) graduated from the Academy of Arts in Novi Sad, with the Art Clinic’s Perspectives IV Award. As a representative of the Novi Sad Academy of Arts, he stayed at the Lasalle-Sia College of the Arts in Singapore and the Academy of Arts of the University of Veracruz in Mexico. In August and September 2019, he participated in the Homesession residential programme in Barcelona. More information at