Skip to main content
The event you were looking for has already taken place. Find many more events, tips and recommendations in Berlin's biggest event calendar on

As part of "LOST - You Go Slavia" three exhibitions are taking place at the same time in the Maxim Gorki Theater.




The exhibition shows Danica Dakić's work series Zenica Trilogie as well as the new production Vedo, which will have its premiere in the Berlin Autumn Salon 2023.

With the Zenica Trilogy project, Danica Dakić represented the Bosnia and Herzegovina Pavilion at the 58th International Venice Biennale in 2019. In the exhibition, she explores the utopias of the city of Zenica (Eng. »pupil«), which was regarded as the up-and-coming center of industrialization in socialist Yugoslavia and was an architectural paragon of a modern city. Since the Bosnian War, Zenica has experienced the downside of modernity in the form of extreme environmental pollution, unemployment and collective resignation. Together with the protagonists from Zenica, the artist asks about the dreams and scope of action of the individual. Walter Gropius' »Totaltheater« serves as an inspiration for the abolition of the boundary between stage and audience, between the real and the imagined. After the premiere in Venice, the Zenica trilogy could also be seen in the Bauhaus Museum in Weimar.

Zenica trilogy consists of three video works: Čistač/The Cleaner, Zgrada/The Building and Scena/The Stage as well as the graphic portfolio Zenica Mapa/The Portfolio.

The video Vedo from 2023 also speaks of the dreams and scope for action of individuals. In an endless loop you can hear a song from the Second World War that was well-known in the former Yugoslavia, Through forests and over mountains. The song, created during the Russian Civil War, spread internationally as a partisan anthem. The boy who plays this march on an old accordion between the empty tracks does not move. Only a few trains are running at Sarajevo's main station today, and international connections have almost ceased. Vedo counters the wintry situation with his music like a utopia.


In the work PJEVAJ! (SING!) 1980, a black and white portrait of the artist is mounted on red fabric. A 100-dinar bill is taped to the artist's forehead. Below the photo is the note »Pjevaj! (Sing!)” printed in red letters. The image refers to the tradition of spitting on a bill and taping it on the foreheads of public entertainers such as buskers. This ritual is based on a certain balance of power. Is Stilinović identifying the position of the artist with that of the street musician here? Then he may be alluding to the status of the contemporary artist in 1980's Yugoslav society; sometimes tolerated, sometimes needed, but not really respected either.
Additional information