Lana Vasiljević.

Special Mention

Pictograms of our time Light tube / Logos of different banks and their popular advertising slogans / Everything in basic color mode (cmyk) Pattern – meaningless and same - leaving sense
Plexi tubes, neon, durst / 160 mm x 2m /

…by means of rearranging and transforming logos of various banks and their advertising slogans, billboard or magazine photos, photos downloaded from a ‘bank of images’ on the Internet, pop and rock lyrics/chorus on the subject of love, short newspaper articles, and even Jenny Holzer’s work/statement, Lana ponders over everyday life experience and thematises social relations as communication relations, i.e. some continuous operations of decoding images and texts. In case of the works from her cycle/exhibition Ltd.,we might say that Lana focuses her attention mainly on the issue of trivializing and using up signs and their potential meanings, and reducing those consumed signs into mere molds. We recognize three main topics in Lana’s latest works: places/behavior, language/communication and faces/identities. In the scope of modern theories and studies on culture, places are defined as an organized and organizing, by-context-determined and contextualizing system, which has both metaphorical and symbolic meanings. In Lana’s works, those places are islands, flat and house interiors, then impersonal corporate offices – sceneries saturated by some stereotype projections of hedonist, luxurious escapism and social status hedonism i.e. financial power and ups and downs on the social scale. As such, these sceneries represent the ‘offer’ of a globalized media culture i.e. they represent products of a tendency towards the standardization of global corporate and multinational capital. Language shows our reality through conventions and habits upon which we construct models of presentation. Their meanings are established by conventions and contextual determinants, and a society creates concepts of its own reality via constantly changing processes of verbalization and representation. Lana’s works point out some of those processes: how popular culture is trying to give some new ‘definitions’ of love which actually have nothing to do with the very concept of love the aforementioned type of culture is trying to describe/determine; how that intimate tone in commercials is turning into an echo of alienated communication; how short narratives, shaping our everyday life, are being integrated into the tissue of the media-shaped world only thanks to their excessive nature. Jasmina Čubrilo / from the catalog

Lana Vasiljević (1973) graduated and obtained a master’s degree from the Faculty of Fine Arts, Belgrade (sculpture department).  She has been exhibiting since 1997, and working in graphic design since 2002. She participated in KulturKontakt Austria residency program and ArtsLink Residency program, ISCP, New York.

She has presented her works at 12 solo and over 50 group exhibitions (Belgrade, New York, Paris, Vienna, The Hague and Warsaw). The awards she has won include the Award for sculpture at the October Salon, 1997. (Annual price of Belgrade City) / GRIFON award for visual identity in 2006. and 2010. / Grand award of the 10. Biennial watercolor, Contemporary gallery Zrenjanin, 2013. / Annual award for sculpture, Association of Fine   Artist of Serbia, 2020.

She worked as a Creative director for DDB Worldwide Communications Group, art director for UNHCR, Professor in School of Design (subject: sculpture).Her works are part of the collections of the Museum of Contemporary Art, Belgrade;   Belgrade City Museum; Telenor Collection and many other public and private collections.

Silent talk / Nemi govor

Drawing with chalk white pencil on granite tile Open octahedron model / opposite and extremes pronouns-words

The interpretation of space and time and their relationship are the essential elements of the author’s research. Basic geometric shapes, such as circles, triangles, or squares, speak of the search for harmony between order and chaos, which is one of the earliest artistic pursuits. Engraved recurring, intersecting words represent signs, signposts that invoke deliberation on deeper meaning and inner things…

from the catalog / Marina Martić, Silent talk




The structure of Lana Vasiljević’s ambience is based and developed on account of the mutual relations that objects form with one another and as well as with the observer: dozens of hand-sculpted, polished, put together, scraped, cast, painted, cut, and artifacts written on that speak through the materials and things they are made of. They indicate some imaginary stories about events that take place and are hidden, captured or forgotten beneath painstakingly shaped surfaces…


Recognizing the invisible magical voice of things, Lana Vasiljević translates their language into the silence of objects which brings to life broken relations with the subject (observer), insisting on the transformational potential of a sculpture as determined by the space experience. And the magic of things, which makes reality a place of constant search for solutions to the enigma of the world both people and objects live in, is the lesson we have learnt from the art of sculpture with an object as the everlasting center of attention.

from the catalog / Ana Ereš, On the magic of things and the silence of objects