What is remembrance? Can we influence the fragments of memories that remain within us and the ways in which they will shape us in the future? Do we exist beyond of our own heritage?

Slovak sculptor, painter and art theoretician Alojz Rigele wrote at the beginning of the 20th century: “a monument in its oldest and most original sense is a human creation, erected for the specific purpose of keeping single human deeds or events […] alive in the mind of future generations.”

The exhibition by Kemil Bekteši and Bojan Stojčić entitled At the monument at 7, deals with various aspects of the human relationship to places of remembrance, monuments, heritage, individual and collective memory, semantic and urban structures of monuments, social, political and cultural meeting places, oblivion, neglect and post-Yugoslav narratives in contemporary discourses.

The two artists strive to problematize these poetics through their collaboration and present personal and universal experiences through a joint view in different ways.

Bekteši creates his own temple for the hero who deserves a memorial in his life. However, it does not trap the idea in the illegibility of its own privacy, but uses a universal language to create a collective space for visitors, in which it enables the individual interpretation of each individual in accordance with their experiences.

 

Stojčić focuses on well-known shapes from our everyday environment and explains the need for a somewhat mechanical assembly and subconscious finding of familiar shapes that we encounter throughout our lives.

The two artists strive to problematize these poetics through their collaboration and present personal and universal experiences through a joint view in different ways.