Utilitarna memorija
Utilitarna memorija / 2019 / Rad nastaje na osnovu sećanja, o prvi razmišljanjima o umetnosti. Bazirajući se na dečjoj logici, autorkinim prvim shvatanjem umetnosti i doživljajem da nešto što je umetničko mora biti staro. Rad se sastoji od porcelanske figurice koju je autorka zakopala u zemlju kada je imala između deset i dvanaest godina sa cijem da ta figurica kroz nekoliko godina svojim boravkom u zemlji stekne određenu vrednost, kakvu do tada ona vidi samo kod klasičnih umetničkih dela i arheoloških otkrića, i dokumentarnog videa koji danas prati iskopavanje te figurice. Danas rad iščitava, kako umetnost komunicira sa društvom, u kojoj meri sugeriše neku vrstu ispravne, potvrđene umetnosti kao referentne i jedine priznate. Koliko savrmeno stvaralaštvo komunicira kroz institucije i koliko uopšte umetnost komunicira kroz institucije (npr. obrazovne). Ovu instalaciju čine u prostoru postavljena, originalna figura na limenoj polici i dokumentarni video zapis o pronalasku datog predmeta. Video ima zadatak da sugeriše autentičnost događaja što govori o tendenciji savremenih praksi da u svojim stejtmentima nužno prave korelacije sa referentnim književnim i filozofskim delima, sistematizovanim i valorizovanim kao vredno. Rad takodje zadire u područje nostalgičnih odnosa, mode i vrednosne patine koje po svojoj prirodi kreiraju kako želje društava tako i produkciju, proizvodnju i distribuciju. video https://vimeo.com/333500645 Utilitar memory / 2019 / new proposal The work is based on the memory of the first thinking about art. Based on child's logic, author's first acceptance of art and the experience of something that art have to be old. The work consists of a porcelain figure that the author buried in the ground when she was between ten and twelve years old, with whom she had acquired a certain value for several years with her staying in the ground, which until then she sees only in classical works of art and archaeological discoveries, and the documentary video that is now following the excavation of this figure. Today, this work could reads, how art communicates with society, to what extent it suggests a kind of correct, confirmed art as a reference and the only recognized one. How contemporary art communicates through institutions and how much art communicates through institutions (Educational). This installation consists of a set-up, an original figure on a tin shelf, and a documentary video on the invention of a figure / object. Video has a task to suggest the authenticity of an event that talks about the tendencies of contemporary practices to necessarily correlate with reference literary and philosophical works, systematized and valued as worthwhile. The work also touches on the field of nostalgic relationships, fashion and value patins that, by their nature, create the desired society, as well as production and distribution.

Preoblikovanje simbola
Preoblikovanje simbola / 2018 / Galerij SULUV, Novi Sad, Srbija; Iako simbol prošle ideologije, petokraka je i dalje prisutna u vizuelnoj kulturi - da li inkorporirana u spomeničku skulpturu kao kulturno nasleđe ili kao sastavni deo vizuelne komunikacije koja se koristi u marketinške svrhe. Preoblikujući svoje značenje, opstaje u dijametralno drugačijim ideološkim uslovima, navela je autorka Pitanja koja njen rad postavlja jesu kako se to preoblikovanje dogodilo i kako ono danas utiče na generacije, koje su rođene nakon socijalističkog uređenja naše države? Da li izmišljena nostalgija kod mladih počiva na vizuelnoj prisutnosti ovog simbola ili na estetskoj dopadljivosti i propagandi?Prema rečima Sonje Jo, rad objedinjuje jezik kapitalizma i spomeničku skulpturu komunizma, a sve u clju dobijanja odgovora da li ideološko ubeđenje može da sadrži poštovanje prema svom opozitu. eng Although the symbol of the past ideology, the five-pointed is still present in the visual culture - incorporated in monumental sculpture as cultural heritage or as an integral part of visual communication used for marketing purposes. Transforming its meaning, it survives in diametrically different ideological conditions, the author said. The questions that her work asks is how this transformation happened and how it affects today the generations born after the socialist organization of our country? Is fictional nostalgia for young people based on the visual presence of this symbol or on aesthetic appeal and propaganda? According to Sonja Jo, the work unites the language of capitalism and the monumental sculpture of communism, all in the question of whether the ideological conviction can contain respect for its opposition.

Digitalno detinjstvo
Digitalno detinjstvo / 2017 / Muzej savremene umetnosti Vojvodine, Novi Sad; Instalacija predstavlja poznatu dečju igru školica, čiji su brojevi pretvoreni u brojeve binarnog koda i time je stvorena drugačija igra sa drugačijim pravilima. Rad ispituje dva načina života digitalnog i analognog ( prošlosti i budućnosti). Činjenica da se ne može sabirati jedinicom i nulom dovodi do pitanja da li smo zaboravili da smo deo prirode?Ovaj rad treba da predstavi jednu uspešnu digitalizaciju, jedan odnos prošlosti i novonastalog trenutka, on je predstava jedne idealne verzije up to data-a. eng Most of us remember that when we were kids we drew the fields for hopscotch, which is a game in which you jump from one numbered field to another (numbered one to seven). Aware of the kind of time we live in, the artist has modified this game and transferred it into a binary code. Thus, instead of the natural succession of numbers, which we learn as children, the hopscotch for a new generation is written only two digits – zero and one. At the very core of this work is the confrontation of two irreconcilable concepts of living, the former analog one and the contemporary digital one. The fact that we cannot count using just zero and one leads us to the central question according to this artist, and that is: have we forgotten that we are part of nature?