︎︎︎ Exhibitions

︎︎︎ Podroom Gallery, Cultural Center of Belgrade, 14.4.-19.5.2022.
︎︎︎ Berlin (coming Aug/Sep 2023)
︎︎︎ Teheran (TBA)

︎︎︎ Prologue

“Look at Water” by Roshanak Amini, Sofija Vučeta Posavec, Uroš Pajović

︎︎︎ Chapter One: Laments of Time

1 ︎︎︎ Lucas Odahara, Liminal Blues
2 ︎︎︎ Mate Ugrin, Porinuće (To Launch a Ship)
3 ︎︎︎ Juniper Foam, Staring at the Sun / Wherever I Am, the Sky is Mine
4 ︎︎︎ Uroš Pajović, The Free World (Part I)

︎︎︎ Chapter Two: Forces of Habit

5 ︎︎︎ Mariam Kalandarishvili, Tertiary Effects

6 ︎︎︎ Marko Stojanović, 19th of January

7 ︎︎︎ Maryam Katan, Tactics of Desire: A Prescription for the Explorer, the Fisherman, the Fish

8 ︎︎︎ Roshanak Amini, Threshold

9 ︎︎︎ Stephanie Imbeau, Shifts (Procession)

︎︎︎ Chapter Three: Remnants of Hope

10 ︎︎︎ Diana Barquero Pérez, If You Think You Can Grasp Me, Think Again
11 ︎︎︎ Ivan Marković, Surf
12 ︎︎︎ Marijana Radović, Gentle Cleanser

13 ︎︎︎ Škart, Voda pamti (Water Remembers)

curated by
Roshanak Amini, Sofija Vučeta Posavec and Uroš Pajović

created by 
Roshanak Amini and Uroš Pajović

Uroš Pajović

The Free World (Part I)

    Following the opening days (14th-17th April) of the exhibition, where the works of all participating artists appear in their smallest incarnation, the first Chapter, “The Other Side of Water: Laments of Time,” takes over the Podroom Gallery from 18th to 27th April.
    Like water that relentlessly fills up the cup, conquering its shape in its entirety, artists in this cohort trace the boundaries of its geopolitical exploitation, in a procession followed by the constant sense of anxiety so innate in the third world.  
    Works of Lucas Odahara focus on poetics of water both in its individual and societal identification. His drawing series Nightwater presents objects that become connecting elements between night and day. His other work, O Sapato do Mastre, Masthaharage Sapattu (the Master’s Shoes), that was made in collaboration with Indrakanthi Perera, is a video departing from a poem playing with Portuguese and Sinhala words. Mate Ugrin captures the last launch of the ship at the “Third of May” Shipyard in Rijeka, Croatia in his work Porinuće (To Launch a Ship). Roshanak Amini and Juniper Foam’s Wherever I am the Sky is Mine / Staring at the Sun looks into the fluctuation between an “illegal settlement” Karail and the rest of Dhaka (Bangladesh) and the force of organic social movements that, like water, find their way through imposed physical and social boundaries. In his work The Free World (Part I), Uroš Pajović explores geopolitical constructs of the King Fahd Causeway between Saudi Arabia and Bahrain and its local and international role.
    As we pause in front of these artworks we realize that we have suddenly become part of that world, estranged and imprisoned. This new reality with its expressive sensibility leaves us in turmoil. The urge to act remains with us. The change is imminent, or so it seems.
The Free World (Part I) is on display in Podroom Gallery 14th-127th April and 16-19th May.

In 1986 the King Fahd Causeway between Saudi Arabia and Bahrain was built, connecting the two countries via a bridge and a series of artificial islands. The central island, named “Passport Island,” features several venues, yet only three pairs of structures appear on both sides of the border: two border control complexes, one Saudi and one Bahraini; two mosques, one Saudi and one Bahraini; and two McDonald’s restaurants, one Saudi and one Bahraini. After the 1938 discovery of oil in its territory, Saudi Arabia would grow to become the world’s largest exporter of the resource, and one of the most important, and most controversial, allies of the US and the West. ”