Exhibition Immobile Things by Marija Dragojlović examines how everyday objects, through enlargement and drawing, become carriers of memory, emotion, and duration, transforming intimate traces of lived experience into visual records of attention and perception.

Tadija Janičić’s To-Do List at Gallery Novembar explores everyday life as a complex visual and mental space in which personal and social fragments intertwine into a dense network of images, meanings, and “obligations.”

The exhibition Our Battles reflects on contemporary collective experiences of resistance and solidarity through interconnected personal and social struggles that unfold within a shared space of responsibility and transformation.

The exhibition Duck Duck Goose… by Selena Vicković brings together works in which hybrid figures, toys, animals, and scenes drawn from imagination intertwine humor, unease, memory, and the experience of female identity.

The exhibition Youth by Marija Šević explores youth as a space of togetherness, solidarity, and possibility through paintings that connect intimate experience with a collective imagination of the future.

Novembar Gallery opened the group exhibition Summer Vibes: Constructing Summer, curated by Tamara Stankov and Vojin Narančić. The show features works by five artists: Kiša Radić, Teodora Rakidžić, Nina Ivanović, Marko Crnobrnja, and Marko Vučković.

This year’s summer exhibition at Novembar Gallery brings together the organic elements of a season – fragments such as light, shadow, warmth, and silence – creating a mosaic that invites viewers to reimagine their summer, free from expectations and stereotypes.

At a moment when summer is no longer just a season, but a metaphor for a collective state of mind, Constructing Summer explores how the contemporary individual attempts to build their summer: not as an escape, but as a space for introspection – a place where thought, matter, and emotion intertwine in a new order. Here, summer is not treated as a synonym for fleeing the everyday, nor as an idyllic intermezzo between obligations, but as a period in which the accelerated rhythms of contemporary life clash with the longing for inner peace. – Tamara Stankov.

The exhibition does not deal solely with the natural features of summer, but rather centers the human being and their inevitable relationship with nature. Inspired by historical art practices, the show articulates contemporary issues through depictions of nature across a range of media – painting, photography, drawing, and sculpture.

This year’s summer exhibition at the Novembar Gallery serves as a kind of interlude between the sublime landscape of the Romantic cultural horizon – the nature of its own essence, before which the viewer enters a state of self-awareness – and contemporary visual articulations of current issues and concerns. The focus is not exclusively on either humanity or nature, but on their subtle and inevitable interplay. The exhibition simultaneously evokes the organic elements that shape summer as a season marked by recognizable traits and illuminates nature’s potential to serve the contemporary individual – a modern heir to Byronian sensibility – as a sign, a guide, and a recommendation. – Vojin Narančić.

The exhibition Summer Vibes: Constructing Summer will remain on view through September 7. Visitors can see the show during the gallery’s regular opening hours: weekdays (except Mondays) from 12 p.m. to 8 p.m., Saturdays from 10 a.m. to 6 p.m., and Sundays from 10 a.m. to 2 p.m., at Kursulina 22, Belgrade.

What can we possibly portray in the split second we’re lit by the spotlight? What is powerful enough to seize the attention of the anonymous masses, who dispense validation in the form of likes? A Stoic quote, ripped from context and hurled into the manosphere? A morbid collage of everyday scenes of questionable aesthetic value and remnants of the merciless butchering of the Serbian (and all other) languages? Perhaps. But somewhere in that tangled undergrowth lies another paradox born of cognitive dissonance: popularity through anonymity. We don’t crave a heart – we crave a flame. Recognition, not acquaintance. The bestial humanity that Rodin once condemned now offers before the camera not just its own nudity, but the very nakedness of self. Life has become pornography. Welcome to the lounge. A burning peach longs for an eggplant. If all goes according to plan, it’ll all catch fire. If not – if validation never comes – we’ll smear on clown makeup and prepare for crucifixion. The skull is no longer a memento mori; it’s a symbol of dying from shame – because actual death no longer affects anyone.

If Rodin were alive and had not succumbed to attention deficit disorder by turning up in our backyard, he and Matić could engage in a reasoned discussion about the world’s need for artists and art. What the great predecessor overlooks is that leftovers can still be made into a meal. If there is anything left of religiosity, it is the duty of the full to feed the hungry. To use faded, worn-out symbols as the foundation – not just for critique, but for irony, wit, and ambivalent reflection on what’s happening to all of us, to varying degrees – is the ultimate act of rebellion against the raging bull that is the feed. The digital readymade, transferred from the screen to the third dimension, is a war, not a pact. A refusal to reduce ourselves to the absurd.

 From the text Eros and Thanatos in the Digital Desert by MIlica Grujić

Curator: Mia David

Novembar Gallery is pleased to invite you to the opening of the exhibition The Sky is Full of Momentary Light, Everything We Need is Just Too Far by artist Ana Knežević, on Saturday, April 12, from 1 PM. The exhibition is curated by Mia David, artistic director and curator of Novembar Gallery.

In China and Ohio, They Eat Dogs

In China They Eat Dogs, Lasse Spang Olsen, 1999

The film In China They Eat Dogs (I Kina Spiser De Hunde) is a Danish black comedy that explores unusual and dark situations in the lives of ordinary people who gradually enter the world of crime and violence. The film became a cult classic in Scandinavia due to its unique blend of absurd humor and philosophical dilemmas. The title of the film is not meant to be taken literally but serves as a metaphor for moral ambiguity. The film explores the idea of relativizing good and evil, raising the question: are our moral choices absolute, or do they depend on the circumstances? This theme is developed through the characters, who often make immoral decisions with “good” intentions.

“Bart to the Future”, The Simpsons, Springfield, 2000

Lisa Simpson takes over the presidential office and mentions inheriting it from Donald Trump, who caused a major economic collapse.

“Goodbacks”, South Park, 2004

In this episode, migrants from the future seek employment in the present, which sparks economic and social tensions. The phrase “They took our jobs!” became a popular meme satirizing resistance to migrants in general. While not targeting a specific group, the episode critiques xenophobia, economic fear, and social tensions.

“Coming to Homerica”, The Simpsons, Springfield, 2009

The residents of Springfield decide to build a wall to prevent the migration of people from a neighboring city, who have come due to an economic crisis. The episode is a satirical critique of migration, xenophobia, and political decisions. It seems that Trump took it literally.

“Parts Unknown”, Anthony Bourdain, 2013

In this series, Bourdain explores different cultures through their culinary traditions, including those that may seem controversial to many people. Bourdain frequently sparked public discussion about the treatment of different animal species in cuisine. He consumed local delicacies such as certain insects, blood, or animal organs, which may seem extreme to Western audiences.

Bourdain supported cultural authenticity and defended the right of communities to practice their customs. His views have polarized audiences, and he is often used as an example in discussions about ethics in food and the treatment of animals, including accusations of “exploiting animals for entertainment”.

There is no documented evidence of him eating dogs or cats.

Springfield, Ohio, 2024

In recent years, Springfield has received an increasing number of migrants, including Haitians, partly due to the demand for labor. The Haitian migrant population has reached about 15,000 people. This has caused tensions in public discourse but has also brought diversity and contributed to the local community.

Presidential Election Campaign for the USA, Donald Trump, 2024

During a debate in September 2024, Donald Trump claimed that refugees in Springfield, Ohio, eat dogs and cats, which sparked controversy and condemnation for spreading misinformation and racist stereotypes. His statements were based on unfounded claims circulating in right-wing circles. Officials in Springfield, Ohio, including the mayor and police, stated that no such incidents had been reported. Trump used this remark to highlight what he described as an alleged problem with migrants, even though the Haitians living in Springfield are mostly in the country legally under Temporary Protected Status.

Art helps us view life from a different angle, broadening our outlook and perspectives by offering alternative opinions and perspectives. Humor, irony, and satire are frequent tools used by artists. Today, these tools are losing their meaning, as reality surpasses even the wildest imaginations of a sane mind. In the past, art referred to life; today, reality draws inspiration from art. And let anyone say that art cannot change the world.

Everything is funny. Nothing is funny.

Curator and author of the text: Mia David

Novembar Gallery invites you to the opening of the exhibition Shark: Part 5 Therapeutic Center – Ocean on Saturday, November 9, from 1 p.m. by artists Vladimir Milivojević Boogie and Uroš Đurić.

The audience will have the opportunity to see the works of the famous photographer Boogie, as well as the painted works of Uroš Đurić, which are arranged as a whole by Mia David, the curator of the Novembar gallery.

Boogie (Vladimir Milivojević) has built his artistic practice by documenting scenes of groups often marginalized – drug addicts, gang members, the homeless, people living on the fringes of society. His work is marked by raw realism and a strong sense of social justice. It is direct, intimate, and impartial, offering a glimpse into lives far removed from the public eye without beautifying reality, thus achieving a powerful effect of harsh realism. – curator David points out in the catalog

Uroš Đurić presents works from the Art for a Class Society series to the public in the Novembar gallery.

Đurić’s latest series in which he took on the role of chronicler – Art for Class Society – may also be seen as a kind of exploration that observes class as a social product rather than a hierarchical category. He made the series in 2012, after meeting a woman, a typical representative of the new social class (educated abroad and apparently made of money; also a faddish consumer of alternative culture). Although seemingly enthusiastic about Đurić’s works, she refused to support him by buying one of his works displayed at his studio, opting instead for decorating her wall with a cheap paper reproduction of one of his works torn from a diary. – said Mladen Banjac.

Milija Nešić exists beyond time. Milija Nešić is time itself.
Milija Nešić was born in 1934 and is about to celebrate his 90th birthday. He has been creating for almost a century; witnessed the birth, life and death of my homeland – Yugoslavia. His artwork is an opportunity to follow the ways ideas about freedom, equality and solidarity faded, and then ultimately disappeared, to make way for the egocentricity and one mindedness we are currently living.

Nešić Speaks
Nešić’s formative years were shaped by the war and post-war hope in a better tomorrow. He was part of the best aspects of Yugoslav modernism; the one that sought expression for a new Country and its position between East and West. Like most artists of the time, for him the goal of art was not the grandiose representation of the state, but rather, communicating with society through the artistic act. Transposing ideology to form and materiality embodied in strength was at once in disharmony with the essence of art, with freedom. Art became formalised, aestheticised and in some ways appropriated by the system. Yugoslavia started disintegrating and Nešić bore witness to this. Milija wanted his sculptures to be part of the urban landscape that would link nature and society. They were not stories about aesthetics; they were in reference to a more humane way of life, art that belongs to everyone, and not just the privileged class.

Nešić is Silent
This is why he sought freedom radically, and immaterially. With a spirit free enough to transition from one “crew” to another: from the modernists to the avant-gardists and to conceptualists. Documentation about his performances on New Belgrade’s sandstone shows a direct link with the then current global tendencies and the leading names in land and body art. The breakup of Yugoslavia became apparent even to those less sensitive to nuances. Ideology and reality disintegrated. The deception behind the idea that we are all striving towards a society where everyone is equal became painfully apparent.

Nešić Screams
A new, radical cut, and return to figuration (which he practiced in his youth), directly and uncompromisingly befuddled the then critics. It was not the vernacular of the time. Nešić discovered his voice. Nešić unleashed a scream. Nešić unravelled Manipulations and everyone called them “Mrdalice” The public was captivated. The first showcasing in the art gallery of the Cultural Centre of Belgrade was an immediate success. (Then as now, exhibitions are rarely noticed by the wider public.) Experts were dumbfounded and reserved. Manipulations were so blunt and blatant that they appeared vulgar and banal to most. The screaming of Nešić’s art could not be ignored. “Mrdalice” are more popular than ever today. This world is by far worse, much worse than the one in which Nešić created Manipulations. The first series is a scream within Yugoslavia, a scream upon Yugoslavia that things have gone too far. Sycophants and bootlickers, ideology and the church – were themes of the late 1970s and early 1980s when Nešić created his first series. In the mid-1990s he turned to new works, basing them practically on the same motifs, however at this point they were addressed to Milošević that is to us, the people. For the current moment, Nešić has not created anything, perhaps because he has nothing new to say. The world we live in today leaves no room for talk, discussion, different opinions or attitudes. The topics that Nešić deals with will obviously outlive him and the materiality of his works.

Nešić Writes
Art is communication and Milija is seeking a new way. His writings are something between haiku poetry, open journals and wisdom you receive in fortune cookies. Cleansed and reduced to their very essence, they are like traces along the road for those that wish to take a pause. He no longer addresses society, knowing there is no one to hear him, but he still hopes to leave a trace that might, even slightly, change the world.
*
Here we are in the present. Milija Nešić is celebrating his 90th birthday and Novembar Gallery its 50th exhibition. Why was the exhibition of Milija Nešić’s works chosen to mark the jubilee of the gallery? Although Milija Nešić lived a long life and steadfastly followed his own beliefs, he did not achieve the wealth or fame he deserved. But, here we are, so many years later, and this exhibition is a small gesture of recognition by a girl who fell in love with “Mrdalice” long before she understood them; to whom they were an important step before entering the world of art. Later I understood that my infatuation was not a childish absorption with something that moves, but rather, the intuitive acknowledgement that they were the embodiment of truth. In a time when I struggle to recognise any of the values I firmly stand by, Milija is proof that it is possible to live a truly free life.
Although that freedom may have come at a personal cost for him, from a broader perspective, its impact extends further, reaching me and others who will continue to share its light.
This is why I wanted this exhibition. Fashion trends may influence art, but while fashion is fleeting, integrity endures, and I want Novembar to embody this enduring quality.

The exhibition Summer Vibes brings together a diverse collection of photographic works that collectively explore the authentic and transient moments of the summer season. This showcase challenges the idealized imagery often associated with summer, inviting viewers to delve into the personal, the raw, and the ephemeral aspects of this time of year. It also invites viewers to embrace the impermanence of summer and find beauty in the honest moments that define the season.

The photographers in Summer Vibes emphasize the imperfections and personal stories that define the human experience during summer. Their unfiltered approach magnifies everyday scenes, revealing fresh sun marks, tattoos, and other unique features that narrate each individual’s story. These candid images contrast the idealized visions of summer with the genuine reality experienced by most people, celebrating the beauty found in authenticity and personal growth.

The exhibition also captures the vibrant, fleeting moments of summer, transforming them into artistic statements. The rapid pace of modern life and the spontaneous enjoyment of summer days are depicted through dynamic compositions that resonate with the viewer’s own experiences. By presenting these moments as a collage of seasonal memories, the works convey a sense of spontaneity and vitality, creating a rich tapestry of summer experiences.

In addition to capturing the lively side of summer, the exhibition highlights its quieter, more contemplative aspects. Minimalistic compositions focus on subtle details, creating poetic narratives that invite viewers to find beauty in the simplicity of everyday moments. These introspective works emphasize the importance of noticing and valuing the often-overlooked details of summer, turning ordinary scenes into meditative reflections on the passage of time.

The photographs also explore the intimate rituals and personal spaces associated with summer, offering a nostalgic and deeply personal perspective. Through self-portraits and scenes of private moments, the works evoke a sense of vulnerability and transience, capturing the fleeting nature of human existence.

In essence, Summer Vibes celebrates the raw beauty and fleeting nature of summer, encouraging us to find poetry in the ephemeral moments of this enchanting season. The diverse photographic perspectives in the exhibition collectively highlight the profound authenticity that defines summer, perfectly encapsulating this year’s theme: Fleeting Moments, Lasting Memories.

Curator and author of the text: Tamara Stankov