The exhibition ÉTATS DE PRÉSENCE | States of Presence will open on June 9, 2026, at Salle Venturelli in the Geneva area, Switzerland.
The exhibition brings together twelve women and men artists from Serbia of different generations and media approaches, whose practices explore the ways in which inner experiences are translated into material, spatial and visual forms. Through paintings, objects, sculptures, installations, collages and drawings as modes of expression, the artists shape spaces of intimacy, reflection and transformation, thereby affirming their presence. The selected works move between the organic and the geometric, the personal and the collective, the contemplative and the engaged, creating a polyphonic field of diverse states of presence – emotional, bodily, psychological and social.
In the context of this exhibition, presence is understood not only as the physical existence of the artwork itself, but also as an existential mode of being in the world. In order to affirm its presence, human beings must act, create, reshape and transform the world around them, since it is precisely through the act of creation that a relationship with the world and with one’s own existence is established.
In the process of translating different experiences – thoughts, memories, emotions, vulnerabilities, resistance, intimacy – into works of art, the works become sites of encounter between the inner and the outer, the visible and the invisible. Relying on themselves, on their own experiences and personal value systems, the artists create works that move between the aesthetic and the ethical, where visually articulated forms reflect upon and question the themes that shape the reality surrounding us and in which we live.
Within this narrowed space between formal autonomy and the need for social reflection, through different materials, textures, spaces, and atmospheres, the artists initiate acts of reflection and empathy, where art is understood as a form of presence – not only in space, but also in the experience of contemporary life.
Artists:
Aleksandar Stanojević Kempa (b. 1992, Paraćin) is a visual artist whose work spans sculpture, painting, and three-dimensional objects to explore the human figure. His artistic inquiry into three-dimensional forms is characterized by the creation of monumental, monochromatic, totem-like sculptures assembled from everyday objects and recycled materials. He earned his Bachelor of Fine Arts (BFA) in Painting from the Academy of Arts in Novi Sad, studying under Professor Bosiljka Zirojević Lečić, and received Master of Fine Arts (MFA) at the same institution. His professional development includes participations in the Summer Academy of Fine Arts residency project in Salzburg (2015), the prekARTe ’24 residency in Graz (2024), and an Erasmus student exchange at the Faculty of Fine Arts (Facultad de Bellas Artes, Alonso Cano) at the University of Granada, Spain (2017). To date, he has held more than 20 exhibitions, both domestically and abroad.
Statement:
I characterize my work so far as an exploration and examination of various styles and techniques through the motif of the portrait, primarily using painting techniques, but also graphic, drawing, and sculptural methods. While my fascination with the human figure developed during my studies, through further research, practice, and progression, the main focus of my interest has shifted to human-made objects—specifically, everyday utilitarian items that have been used and, by losing their purpose, become unwanted and discarded. Under the theme Mummification, I express my interest in the three-dimensional object in human form.
The core concept behind creating these sculptures relies on utilizing discarded, non-artistic, utilitarian objects that are part of our daily lives. By highlighting the high consumption and daily disposal of these items, I point to the consumerist society we live in, while also exploring the potential of recycling to grant new forms and values—thereby shifting the environment, intention, and purpose of the discarded.
Andrea Ivanović Jakšić (b. 1979, Slavonski Brod) graduated in 2005 from the Department of Painting at the Academy of Arts in Novi Sad, in the class of Professor Milan Blanuša. Her artistic practice encompasses various media and diverse forms of visual expression. She has presented her work in numerous solo and group exhibitions both nationally and internationally, including in Japan, Hungary, Switzerland, Austria, and France. Her artworks are included in prominent private collections across Serbia, Austria, Greece, Italy, Switzerland, Japan, and the USA, as well as notable corporate collections, such as the Philip Morris International Collection, the Niš Art Foundation Collection, the Wiener Städtische Collection, and the MOL – Új Európa Alapítvány (MOL New Europe Foundation) Collection. She lives and works in Zrenjanin.
Statement:
My work emerges at the intersection of matter and inner experience. Natural materials are not merely means of expression, but vessels of time—traces of decay and endurance in which I recognize the ontological dimension of existence. Through scratching, burning, and fracturing the surface, I do not construct a painting in the classical sense; instead, I reveal layers, much like consciousness uncovers itself through the fissures of its own complexity. Every mark becomes a record of transience, yet also a testament to presence; destruction is thus transformed into an act of revelation.
The absence of color in my work is not an aesthetic reduction, but an attempt to strip form down to its essence. Divested of decorativeness, the paintings become spaces of silence where the viewer is confronted with their own existence. In this encounter, the artwork ceases to be an object and becomes a question.
„I ground my entire artistic oeuvre in a personal philosophy of life, which relies significantly on Heraclitus’s ontological and cosmological ideas—such as change being the only law of nature, the conflict and harmony of opposites, and man and nature as One.“
Bosiljka Zirojević Lečić (b. 1971, Novi Sad) completed her undergraduate (1994) and postgraduate (2000) studies in Painting at the Academy of Arts in Novi Sad, where she currently serves as a Full Professor in the same field. She has been a member of the professional artist associations SULUV and ULUS since 1995 and actively participates in multimedia projects as part of the art group Multiflex. Since 1992, she has showcased her work in more than 120 group exhibitions in Serbia and abroad, alongside presenting 20 solo exhibitions. She has received multiple awards for her artistic work and has served as a coordinator for numerous projects in the fields of fine arts and art education.
Statement:
For a long time, the core premise of my painterly expression has revolved around the need for constant experimentation with the very construct of the painting—the material of which it is „made.“ Within the already established system of geometric, reduced forms that constitute my visual language, the surface of the painting—its pictorial value—affirms itself as yet another field of action and a venue for expression.
Positioning the material/matter as a foundational building block of the painting opens up possibilities for work and research within the „expanded field of painting,“ where specific properties of the utilized matter provide the potential to develop a distinct artistic expression.
Edita Kadirić (b. 1976, Banja Luka) is a visual artist whose work centers on the exploration of identity through visual storytelling. She obtained her higher education in the field of visual arts from the Academy of Arts in Novi Sad, the Faculty of Fine Arts (FLU) in Belgrade, an artist-in-residence program in Paris, and the Faculty of Fine Arts in Barcelona. Her professional gallery representation and institutional engagements include Galerie Prom in Munich (2000–2016) and the Carmen Würth Art Foundation (2016–2020). Her work is represented in many valuable private collections and public institutions across Europe and America. She has exhibited extensively in both solo and group exhibitions. She lives and works between France, Spain, and Serbia.
Goran Despotovski (b. 1972, Vršac), received his D.F.A degree at the Academy of Arts in Novi Sad. Graduated and earned his master’s degree in painting at the Academy of Arts in Novi Sad. He has exhibited at fifty-seven solo and numerous group exhibitions in the country and abroad, such as Subdued Existence, Banja Luka, Republika Srpska (2015), Kosice, Slovakia (2015) and Taichung, Taiwan (2014); Premonition/Blood/Hope, Kunstlerhaus, Vienna, Austria (2014); Identities Association for History, Co-operation and Reconciliation, Golubić, Croatia (2014); There will be no miracles here, Facing Belgrade – ein Einblick in die zeitgenössischen Kunstszene Serbiens, Karlsruhe, Germany (2013); Real life presence, organization MSUV and Landesmuseum Joanneum – Kunstlerhaus Graz, Graz, Austria (2009) He has been awarded several times. Author of projects Difference, Image and Book of the Academy of Arts in Novi Sad. Professor at the Academy of Arts of the University of Novi Sad at the Department of Painting. He served as the President of the Association of Fine Artists of Vojvodina from 2017 to 2025.
Statement:
The work of Goran Despotovski is best described through his deep focus on existential questions, social phenomena, and the fate of the individual in contemporary society. His oeuvre does not stop at visual expression; rather, it opens up a space for reflecting on the human condition in a world of manipulation, control, and collective apathy.
At the core of his inquiry lies the question: what remains of a human being when they lose their identity and become part of a faceless mass? In a world where a human is easily turned into a figure, and a figure into a puppet, Despotovski reminds us that preserving identity is an act of resistance. Through art, he invites us to recognize the traces of our existence before they dissolve into the crowd.
Ana Vrtačnik (b. 1991, Sarajevo) earned her Bachelor of Fine Arts (BFA) in Painting from the Academy of Arts in Novi Sad in 2014, later completing her Master of Fine Arts (MFA) at the same institution. In 2022, she successfully defended her doctoral dissertation exploring the transformation of biomorphic forms into contemporary art. Her exhibition record includes 11 solo presentations, most recently Mere Touch Effect at the Božidar Jakac Gallery in Slovenia. Additionally, since 2010, her work has been featured in over 100 group exhibitions across the globe, spanning countries such as China, Switzerland, Belgium, Denmark, USA, Portugal, Brazil, Canada, and Spain. She currently serves on the executive board of the Association of Fine Artists of Vojvodina (SULUV). Throughout her career, Vrtačnik has been honored with several prestigious accolades, including the „Little Prince“ Foundation Award, the University of Novi Sad Award for Outstanding Achievement in the Arts, and the First Prize for Theater Poster at the 58th Sterijino Pozorje. She has been teaching at the Painting Department of the Academy of Arts in Novi Sad since 2014, where she currently holds the position of Assistant Professor
Statement:
How do we choose our specific material, our means of communication? By pure chance? Or perhaps, do they choose us instead? Over time, something provokes us, speaks to us in a unique way—be it sound, touch, scent, hardness, or softness—captivating us and demanding that we shape ourselves as we shape it. Through this process, we gradually discover our own language, engaging as creators in a constant dialogue with our medium.
In my case, I was caught by threads, quite against my will. Working with threads initially struck me as too soft, too delicate. I wanted to conquer something powerful! Yet, circumstances trapped me within threads, tangling me completely, and ultimately winning me over. I learned to listen to them and speak their language. Thus, the encounter with my own work unfolded in an integral way, where creation is understood as a form of thought, the material becomes a surrogate for emotion and idea, and tactility serves as my primary medium of communication.
Ljubomir Vučinić (b. 1956, Novi Sad) completed his undergraduate and master’s studies in Printmaking at the Academy of Arts in Novi Sad. His master’s thesis, titled RESISTANCE-IMPRINT (OTPOR-OTISAK), was mentored by Professor Živko Đak, and accompanied by a print portfolio titled COMPACTED (ZBIJENO), exploring visual culture under the mentorship of Professor Kosta Bogdanović. From 2005 to 2021, he was dedicated to art education at the same institution, holding the rank of Professor of Drawing. Vučinić is regularly featured in curated and selective exhibitions presenting the contemporary Serbian art scene both at home and abroad. He has been a key participant in relevant national cultural projects and has received numerous national awards and recognitions for his authentic contribution to the fine arts.
Statement:
My art is an attempt to materialize silence and to find a point of equilibrium within the space of the canvas between the visible world and its inner structure. I am not interested in the mere imitation of reality; instead, I focus on the architecture of the scene and the way light defines form, as well as the void that surrounds it. For me, a painting is a field of continuous questioning—a process in which every layer of paint and every line carries the weight of a decision and the reflection of time.
In my work, I strive for reduction. I believe that the greatest power of communication lies in simplicity, as it demands an active presence and personal introspection from the viewer. Whether working on a drawing or a painting, my goal is to achieve a balance between the chaos of matter and the order of thought. A blank space on the canvas is not an absence to me, but an active entity that allows the form to breathe and resonate.
Filip Najdanović (b. 2001, Šid) discovered his affinity for drawing at an early age, which sparked his enduring interest in the visual arts. He graduated from the „Bogdan Šuput“ School of Design and Art, specializing in graphic design. He went on to earn his Bachelor of Fine Arts (BFA) in Painting from the Academy of Arts in Novi Sad, in the class of Professor Bosiljka Zirojević Lečić. Since 2022, he has presented his work in numerous group exhibitions, as well as one solo exhibition. In addition to painting, his artistic practice explores the fields of sculpture and documentary photography.
Jelena Prokopović (b. 1992, Sremska Mitrovica) graduated with a degree in Sculpture from the Academy of Arts in Novi Sad in 2015, in the class of Professor Borislava Nedeljković Prodanović. She completed her master’s studies in 2019 at the same Academy, under the mentorship of Assistant Professor (docent) Aleksandar Bunčić. She is the recipient of several awards in the field of art: the First Prize „Lazar Vozarević“ at the Srem Art Salon (2012); the Fine Arts Academy Award for Large-Scale Figure Drawing (2014); the Annual Award of the Department of Fine Arts, Sculpture Chair, for the most successful artwork (2015); and the First Prize „Lazar Vozarević“ at the Vojvodina Art Salon (2024). She has been actively exhibiting since 2012 and has participated in several art projects. Prokopović has held a large number of solo and group exhibitions both domestically and internationally, and her works are part of numerous private collections. She is a member of MENSA Serbia. She lives and works in Novi Sad.
Statement:
Metamorphoses
Jelena has been developing her series of sculptures titled „Metamorphoses“ since 2015, framing her artistic exploration of the medium through the positioning of a young woman in contemporary society. The artist questions the concept of personal freedom and all that it entails—or fails to be—in relation to modern patriarchy. These sculptures represent the artist’s personal growth, serving as a personification of what is perceived as negative within the human being; however, they carry the conviction that this essence of negativity exists on a much deeper level than what is merely presented as socially acceptable.
Paintings: “Fields of Dystopia”
This series of paintings is part of the collection „Fields of Dystopia,“ created in 2024 and inspired by events from the artist’s own life. The fast-paced lifestyle, technological modernization, detachment from spiritual and traditional values, as well as existential questions, are experienced by the artist as universal themes, which she records daily through her work. From the perspective of a female artist, she depicts the internal emotions she confronts. The paint drips on the canvases symbolize the transience and dystopia in which we live, tightly woven into our everyday reality. At times, the paintings are connected to specific individuals who leave a profound impact on her life, while at other times, this dialogue shifts toward introspection, steering the paintings into the realm of pure abstraction.
Irena Kovač (b. 1992, Kikinda) completed her undergraduate studies at the Department of Painting at the Academy of Arts in Novi Sad. She has won several significant accolades for her artistic work, including the „Little Prince“ Foundation Award and the „Art Autumn“ (Likovna jesen) Award. She became a member of the Association of Fine Artists of Vojvodina (SULUV) in 2020 and attained the status of an independent freelance artist in 2022. She currently lives and works in Kikinda. Her artistic concept is expressed through various fine art techniques, guided by collage as a fundamental principle and method of composition. Her most frequently used media include collage and oil or acrylic on canvas. Her works are characterized by a certain touch of humor, subtle irony, and lyricism, addressing various subjects based on both personal experiences and universal themes.
Dragutin Rajković (b. 1995, Podgorica) is a sculptor whose practice investigates the intersections of nature, human intervention, and technology. Working primarily with stone, wood, glass, and reflective surfaces, he explores how materials, form, and space shape perception and interaction, creating a dialogue between the viewer, the work, and its environment. Rajković experiments with both organic and fabricated elements, exploring how their contrasting properties permanence and fragility, opacity and transparency, solidity and lightness can coexist and interact. He often integrates reflective or transparent surfaces into his works, allowing light, movement, and the observer’s gaze to become active participants, transforming sculptures into dynamic spaces of encounter rather than static objects.
Daniel Oshundaro (b. 1997, Nigeria) is a highly decorated artist whose work spans multiple disciplines including polyester figurines, figurative abstract paintings, sculpture, and creative photography. His artistic practice intricately weaves together his personal beliefs, aspirations, and unique personality, which are deeply embedded in each piece he creates. Oshundaro’s art serves as a medium for expressing his thoughts and experiences, drawing inspiration from his surroundings and often referencing classical compositions and vintage imagery. He employs a rich palette, bold lines, varied textures, and symbolism to convey his messages, primarily using mediums such as oils, acrylic, acrylic sprays, and emulsions.