Topografija Beograda [2011-2016]
Kao jedno od najstarijih naselja u Evropi, Beograd ima vrlo specifičnu istoriju diskontinuiteta. Tradicionalni urbanistički nemar i graditeljski haos u savremenom trenutku dobili su otužan nastavak kroz sistemsko propadanje i prateću džentrifikaciju. Ako je ubrzani razvoj Beograda socijalističke Jugoslavije uglavnom podrazumevao širenje i obnovu, posttranzicioni Beograd poslednjih decenija podrazumeva rekonstrukciju. Ova rekonstrukcija najčešće ne znači unapređivanje i restauraciju, već implementaciju rešenja iza kojih stoji prosta logika profita i političke moći. Započet kao istraživanje arhitekture, projekat "Topografija Beograda" sastoji se od velikog broja fotografija na kojima je predstavljen stari i novi savremeni Beograd. Iako je nastao u kontekstu umetničkog istraživanja, projekat ima utilitarnu vrednost, slično kao Google Street View. Na fotografijama označenim prema nazivima ulica predstavljene su pojedinačne građevine, trgovi, raskrsnice, ulice i detalji kao što su izlozi i delovi zgrada. Suprotno ulepšanim razglednicama i dramatičnim foto-reportažama, ove fotografije predstavljaju motive koji nisu ni privlačni ni očigledni. Samo naizgled objektivni, ovi detaljni prikazi Beograda mogu se razumeti kao komentar i kritika, ali pre svega ostaju dokumenti o gradu čija se nemirna istorija i sudbina svode na promenu koja je retko imala pozitivan ishod. [MV] Belgrade Topographics [2011–2016] As one of the oldest settlements in Europe, Belgrade has had a very specific history of discontinuity. The traditional disregard for urban development and the architectural chaos of recent times have their bitter extension in systematic deterioration and the accompanying gentrification. If the massive development of Belgrade in socialist Yugoslavia generally meant expansion of the city, the post-transitional building frenzy of the last decades is mainly focused on its reconstruction. This reconstruction generally does not mean upgrading and restoration, but rather the implementation of decisions guided by plain profit. Initiated as an exploration of architecture, the Belgrade Topographics project consists of a large number of photographs that represent the old and the new contemporary Belgrade. Though deeply rooted in the tradition of art, the project has an underlying utilitarian value, similar to Google’s Street View. The photographs are marked by street names and depict individual structures, squares, intersections, streets, and details such as shop windows and parts of buildings. In opposition to the beautified postcards and sensational photo reportages about events, the motifs represented in the photos are neither attractive nor obvious. Only seemingly objective, these detailed images of Belgrade may be understood as a comment and criticism. Above all, they remain documents of a city whose stressful history and uncertain destiny are regularly reduced to change that has rarely had a positive outcome. [MV]

Infracrveno [2015-2016]
Rad "Infracrveno" nastao je kao posledica snimanja delova reklamnih letaka političke partije "Srpska napredna stranka". Crno-bele fotografije nastale su korišćenjem infra-crvenog filma koji beleži nevidljive delove svetlosnog spektra. Ovaj specijalni film koristi se u forenzici, vojsci, medicini i u mnogim naučnim poljima. Zbog specifičnih osobina ovog materijala na fotografijama su vidljive mrlje koje su u obojenoj realnosti nevidljive. Ove nečistoće zapravo su razotkrivene nesavršenosti štamparskog procesa i papira na kojima su reklamni leci odštampani. U Srbiji postoje mnogi dokazi Altiserove teze o tome da državni aparat može da preživi dramatične političke događaje potpunog preuzimanja državne vlasti. Socijalistička Jugoslavija, sa svojim pozitivnim i negativnim posledicama, i dalje je poslednja paradigma političkog života u Srbiji. Gotovo sva dešavanja od dolaska Slobodana Miloševića na vlast 1989. godine mogu se kumulativno prepoznati u fenomenu partije "Srpska napredna stranka" ustanovljene mutiranjem političkih obrazaca koji su se dogodili posle ovog vremena. "Infracrveno" u tom smislu manje sugeriše nešto što dolazi posle (kolokvijalno) "crvenog" socijalističkog režima, a više novu paradigmu za koju je ovaj simbol odgovarajući znak. Ustanovljeni post-jugoslovenski diletantizam i politički uspeh koji ga prati sažeti su u ovom paradoksalnom simbolu koji pogrešno predstavlja zastavu Srbije. [MV] Infra-red [2015-2016] "Infra-red" is the result of photographing fragments of promotional leaflets of the political party "Srpska napredna stranka". Black-and-white photographs were created using infra-red film which records light below the visible part of the spectrum. This special film is used in forensics, medicine, the military, and in different scientific fields. Due to the specific properties of this material, photographs show stains and imperfections which are invisible in reality. These impurities are actually the result of the printing process and the characteristics of the paper on which they were printed. In Serbia, there is a large body of evidence in favor of Althusser's thesis that the State apparatus can survive the dramatic political events of a complete State power takeover. Socialist Yugoslavia, with its positive and negative consequences, was the last paradigm of politcal life in Serbia. Almost all political events since Slobodan Milosevic’s rise to power in 1989 can be cumulatively recognized in the phenomenon of "Srpska napredna stranka", formed by mutation of the political patterns created after this time. In this sense, "Infra-red" suggests not only something that comes after the "red" (colloquially) socialist regime, but also a new paradigm for which this symbol is a corresponding sign. The established post-Yugoslavia dilettantism and the political success that follows it are summarized in this paradoxical symbol which misrepresents the flag of Serbia. [MV]

Trans. [2008-2016]
"Trans." je skraćenica za englesku reč za "prevod" (translation), ali može da znači i "tranziciju", "tranzit" ili "stanje transa". Iza ovog naslova stoji relativno velika grupa fotografija nastalih tokom osam godina putovanja po Srbiji. Spomenici, ljudi, zgrade, znakovi, nalepnice, njive, automobili, ograde, mašine, stanice, trgovi, ulice, mostovi, reklame, itd. snimani su sa ciljem formiranja moguće slike savremene Srbije. Ova slika treba da bude reprezentativna, ali ne ulepšana i patetična – bez ekstrema, prostih metafora i cinizma. Cilj je bio postići jednostavnu, ali intenzivnu konstataciju o stanju stvari. Stalna, gotovo četvrt veka duga politička drama u Srbiji dovela je do metatranzicione društvene krize i, poslednjih godina, do neke vrste nestvarne ravnoteže, ekvilibrijuma u kome se i formalno gubi svaki smisao. Nemoguće je kritikovati ili afirmisati ovakvo stanje u kome se prošlost i sadašnjost preklapaju; moguće ga je samo dokumentovati. [MV] Trans. [2008–2016] “Trans.” is an abbreviation for the English word “translation”, but may also imply “transition”, “transit”, or a state of “trance”. Behind this playful title stands a relatively large group of photographs taken during eight years of traveling across Serbia. Monuments, people, buildings, signs, labels, fields, cars, fences, building equipment, petrol stations, squares, streets, bridges, commercials, etc. were photographed with the intention of forming a possible image of contemporary Serbia. This cumulative picture is conceived as representative, but not beautified or pathetic – there are no extremes, easy metaphors, or cynicism. The goal was to reach a simple, but intense, recognition of the state of things. The continuous, almost quarter of a century long political drama in Serbia has led to a meta-transitional social crisis, and, in the past years, created an atmosphere of surreal balance, an equilibrium in which everything, even formally, becomes devoid of sense. It is impossible to criticise or praise such circumstances in which the past and present blend into one; they can only be documented. [MV]