Lazar pejovic biography definition

Nets, Nodes, Horizons

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process oriented, interactive installation

hand-made spools of 14m long multi-coloured threads, nodes, metal nets 

a workshop at the dismantling of installation providing working hours for people in need
x cm

Exhibitions/Venues/Courtesies:

- Night in Montenegro and Other Stories, Art gallery “Miodrag Dado Đurić“, November salon, National Museum, Cetinje, Montenegro Curated by Petar Ćuković,  Courtesy of the artist. Photo of the installation: Lazar Pejović

- Art at Work. At the Crossroads Between Utopianism and (In)Dependence, Museum of Contemporary Art Metelkova (+MSUM), Ljubljana, Slovenia. Curated by Zdenka Badovinac, Ana Mizerit, Bojana Piškur, Igor Španjol,  Courtesy of the artist; Modern Gallery, Ljubljana, in cooperation with No Border Craft. A workshop at the dismantling of installation presented at the MG+MSUM web_museum. Photo of the installation: Irena Lagator Pejović, Dejan Habicht / Moderna Galerija Ljubljana

- Irena Lagator Pejović, Expanses of Love, Art Gallery „Nadežda Petrović”, Čačak, Serbia, curated by Patrycja Rylko and Julka Marinković,  Courtesy of the artist; Modern Gallery, Ljubljana, in cooperation with No Border Craft; Art Gallery “Nadežda Petrović”. Photo of the installation: Ivan Petrović, Irena Lagator Pejović

The work Nets, Nodes, Horizonsis an arrangement of a multitude of hand-made coloured yarn balls. One of their thread ends is attached to the nets hanging on the wall, while the other is free and intended for visitors’ interaction. 

By extracting the individual coloured threads towards the depth of the exhibition space, the visitors participate in the process of unwinding the ball, establishing a direct-physical connection with the work and materi

ifa: How did your institution cope during the crisis and how has it managed since then? How has the current situation changed the work of your museum and its conception of itself?

Mirjana Dabović Pejović: Since our activities usually start at the end of March/beginning of April, COVID disrupted all of of our planned exhibitions and accompanying activities for this season. The near entirety of our program had to be postponed until Our institution, together with many others here in Montenegro, had to adapt to the 'new reality' and limit our activities to caring for the collection. Instead of working on new programs, we had to shift our focus to digital promotion of a limited number of activities, such as virtual tours of existing exhibitions or of the museum's permanent display.

ifa: How do you address your public in this new context? What kind of public do you expect and what do you expect from your public?

Dabović Pejović: All of our communication has been moved onto social networks, where we continue to present ongoing activities. We have also continued to donate our publications to schools and libraries, and to promote our work in various magazines. We hope that the audience that has followed our work up until now is still with us in this difficult period, and will continue to be with us in the future.

ifa: What do you consider to be the primary social responsibilities of your museum?

Dabović Pejović: In today's society, it has become urgent and necessary for museums to redefine their missions, goals, functions, and strategies to meet complex expectations. Today, more than ever before, museums are agents of change and development: to mirror events in society and become instruments of progress by calling attention to certain actions and encouraging wider societal development. They must become institutions that promote concepts of equality and democracy through their activities and establish close connections throughout the local community in ord

18 December

The work of the Montenegrin artist Irena Lagator Pejović turns around the themes of space and the relationship between individuals. Soliciting the interaction of the viewer, her installations, videos and photographs reflect on topics like the perception and understanding of reality, individual and collective identity and the responsibility of society and its single members. Lagator Pejović represented Montenegro at the 55th Venice Biennale (), while the most important exhibitions in which her work has featured are the sea is my land at the Milan Triennale () and the MAXXI in Rome (); Mines of Culture—From Industrial to Art Revolution, Labin Art Express (L.A.E.) XXI, Croatia; Coexistence: for a New Adriatic Koine, Museum of Modern and Contemporary Art in Rijeka, Croatia (); Spring Exhibition at the Kunsthalle Charlottenborg in Copenhagen; The Society of Unlimited Responsibility at the Museum of Contemporary Art in Belgrade. In , while she was artist in residence at the Neue Galerie Graz am Universalmuseum Joanneum her first book The Society of Unlimited Responsibility. Art as Social Strategy. was published by Buchhandlung Walther König, Cologne. Lagator has two exhibitions scheduled for Fiery Greetings at the Museum of Yugoslav History in Belgrade and Coexistence at the Fondazione Pino Pascali in Polignano.

You were born in Cetinje, Montenegro, in and stayed in your country till you completed your studies at university in So you belong to the generation that grew up during the wars of the nineties. How was that experience for you and how has it influenced your artistic research?

The period of the wars in Yugoslavia had a profound influence on me. But the context in which my generation grew up before the conflict was very important too: the Socialist Federal Republic of Yugoslavia was a multicultural state and a land midway between East and West. Young people were raised un

Saving Hotel Podgorica: Who, If Not Architects?

Hotel Podgorica, one of the most important modernist buildings in the capital of Montenegro, has never been recognized as an important cultural heritage which, by all accounts, it is. A local group of activist architects is committed to changing that. 

Podgorica is a very young – and a very new – capital city. Young because the capital of Montenegro was moved there from Cetinje, the old royal base, only after World War 2; new because World War 2 brought about such destruction that, once the war ended, the city had to be built anew, almost from the scratch. Rebuilt within a new country, Yugoslavia, and under a new name, Titograd, today’s Podgorica still exhibits the modernist principles and structures of 20th-century urbanism and architecture which shaped and accentuated the cityscape. This heritage is undoubtedly precious; also, it has undoubtedly been systematically neglected and eaten away by the unhinged and poorly regulated urban development of the postsocialist decades. One of the victims of this process has been Hotel Podgorica.

Hotel Podgorica was built in , at the time when the city government was looking for new ways to include the Morača riverbank into the nascent urban fabric. The winner of the public architectural competition was Svetlana Kana Radević, whose project succeeded in joining together the modernist tendencies of Yugoslavian architecture with Montenegrin building traditions, all while respecting the specific location of this building site. Once the hotel was constructed, it inspired awe and glowing reviews from all over Yugoslavia. In the distinguished professional magazine Arhitektura Urbanizam, Zoran Petrović wrote about “real joy, to encounter such accomplishment, which stands out from the grayness of our architectural everyday life, to come into contact with the work which escaped the mediocre, which wanted to say something new and which was absolutely successful in doing so[…