Laufer Gallery in Belgrade

A cycle of oil paintings in which ascetic figures, construction workers and fragments of religious iconography meet, with suspended labour and unfinished gestures becoming a pictorial meditation on sacrifice, time and Balkan visual culture.

A solo presentation by the Belgrade-born, Brooklyn-based photographer, bringing together black-and-white street and documentary images that examine marginal communities, urban violence and the lingering psychological textures of post-conflict everyday life.

Drawing on archives connected to the Museum of Yugoslav History, the project assembled prints, projections and curtain-based installations that examined how socialist visual culture is preserved, displaced and reactivated within contemporary representational frameworks.

A continuation of the series first shown at Gallery Kolarac, presenting works on paper and canvas that operate through a quiet logic of marks, intervals and partial systems hovering between drawing, diagram and abstract composition.

Developed alongside the artist's monograph of the same title, the exhibition gathered photographs of the jewel-encrusted catacomb saints preserved in Swiss churches, treating these reliquary bodies as objects suspended between devotion and baroque theatrical display.

The young Vojvodina-trained artist's second chapter of the Residuum cycle, working between canvas and object to address the leftover, the ornamental and the persistence of folk and ritual imagery within a contemporary figurative idiom.

Curated by Maja Ćirić, this anniversary exhibition gathered artists from the gallery's roster to mark its first five years, framing the programme as a shared collective identity rather than a celebratory institutional milestone.

A solo cycle of oil paintings in which crumbling walls of red hollow bricks become cascading flood waves, channelling Ruskin's reading of the Turnerian sublime through Balkan industrial detritus and Byzantine references to the Ktitor figure.