9 SOLO EXHIBITIONS

OPENING: Thursday, October 2, 7 p.m.

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Artists: Mladen Bundalo, Milica Crnobrnja Vukadinović, Goran Despotovski, Nina Ivanović, Ana Mušćet, Filip Rađenović, Luka Trajković

Curated by: Vladimir Bjeličić, Zorana Đaković Minniti, Senka Ristivojević

Visual Identity: Bojana Aleksijević

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On Thursday, October 2, seven exhibitions will open simultaneously in the three galleries of the Cultural Centre of Belgrade as part of the joint project 9 SOLO EXHIBITIONS. At the Art Gallery, the exhibiting artists are Nina Ivanović, Milica Crnobrnja Vukadinović, and Goran Despotovski. At the Podroom Gallery, works by Ana Mušćet and Mladen Bundalo will be presented. The Artget Gallery will feature solo exhibitions by Filip Rađenović and Luka Trajković, selected by this year’s Artistic Director, Aleksandar Kujučev.

After program funds were cut mid-year, reducing the budget for already planned exhibitions, the curatorial team at the Cultural Centre of Belgrade decided—rather than retreat or give up—to offer a hybrid format, supported by the participating artists. These projects were originally conceived for the second half of 2025 in alligement with the curatorial practices cultivated by the Centre. The idea of bringing together solo exhibitions into one joint timeline stems primarily from the increasingly precarious and uncertain conditions of cultural work. The name 9 SOLO EXHIBITIONS is also speculative: alongside the seven exhibitions that will be realized, the title refers to two that were canceled.

A few months after the beginning of student protests in Serbia, the Cultural Centre of Belgrade has become a new site of challenges on the cultural scene due to the occupation of the Centre’s Cinema Hall, which deepened the institution’s crisis and opened new spaces for critical reflection. In its effort to remain open and to continue supporting contemporary creators—who are the institution’s long-term collaborators—and in an attempt to spark conversations about who culture belongs to and for whom it is produced, especially in the face of turbulent socio-political realities, the Cultural Centre of Belgrade is stepping into public space with this joint exhibition format 9 SOLO EXHIBITIONS.

By departing from standard practices with this final exhibition of the 2025 season, we express concern over the ability to plan future programs and disagreement with the diminishing financial support for contemporary artistic production. As a result, the artists’ projects are presented in a more limited scope than originally planned.

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➜ Curator’s text about 9 SOLO EXHIBITIONS

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📍Art Gallery

Nina Ivanović: Topčider River
Goran Despotovski: ASC/DESC
Milica Crnobrnja Vukadinović: Micro Territories

📍Podroom Gallery

Mladen Bundalo: Domus vulgaris
Ana Mušćet: Corpus: Passion Fruit, Albedo

📍Artget Gallery

Filip Rađenović: Rapture
Luka Trajković: Where I’m Calling From

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With an exhibition Topčider River, Nina Ivanović continues her exploration of rivers and their destinies—particularly one that both springs and disappears within the city of Belgrade. The Topčider River, or “Topčiderka”, has carried the fate of being the most polluted river in the city, with nickel concentrations far above legal limits, for decades. Subtly, the artist points to the dangers of human neglect and the failure to repair the damage we’ve caused.

The exhibition micro territories by Milica Crnobrnja Vukadinović refers to those small, deeply personal spaces where one belongs only to oneself—spaces where all life roles are relinquished, allowing existence in its purest form. These are solitary places, personal worlds. The artist takes the viewer through a distilled, intimate narrative—a history of micro territories conquered within shared living spaces.

Goran Despotovski, in his solo show ASC/DESC, questions past systems and the new world order that now negates previously established values. His installation, made up of depersonalized mannequins, represents the human being in its bare existence—lost in a value-less world. These faceless people live in the belief that they have no control over their own lives: neutral, powerless, inauthentic, lifeless.

In his exhibition Domus vulgaris, Mladen Bundalo presents a selection of recent works developed as part of a long-term research project on the theme of “home.” The home is treated as a living entity, with its own history, facing challenges, uncertainty, and instability in modern society. The exhibition reflects the artist’s thinking, based on personal experience and work abroad, and more broadly, on how people perceive the world, identity, culture, and belonging.

Through her exhibition Corpus: Passion Fruit, Albedo, Ana Mušćet presents two formally minimalist, refined works addressing personal heritage within the framework of social trauma. Both works are the result of her long-term research into the forced disappearances during the wars of the 1990s, particularly in the Vukovar-Syrmia region. The short video Passion Fruit explores our internal capacities to confront trauma and understand the unknown. Albedo is a temporary, site-specific installation at the back of the gallery that more directly confronts us with emptiness, creating discomfort while also questioning the role of the Sun as a metaphor for the omnipresent subconscious of the living world.

Filip Rađenović, in his solo exhibition Rapture, addresses violence against bodies perceived as different, undesirable, and threatening in our society. A series of photographs depict drag characters bearing visible signs of violence and abuse. These works give identity and voice to bodies that have collected scars over a lifetime of navigating societies rooted in fear and hatred toward LGBT+ individuals.

Luka Trajković’s solo exhibition Where I’m Calling From presents a series of photographs that resemble film stills. Carefully constructed and dramaturgically choreographed, these image-sequences convey the artist’s view as a cinematographer, now translated into the medium of still photography. Each sequence hides a story—of an event, or of the subject in the frame—capturing subtle, nearly intangible moments in a frozen instant.

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*The Cultural Centre of Belgrade extends its gratitude to all the artists, art historians, colleagues, and collaborators who took part in the collective effort to make this joint program—one that explores personal, social, and political territories—contribute to a deeper understanding of our everyday lives.