The Gallery of Non-Aligned

The edition features a work from The Gallery of Non-Aligned (2023), a photographic series drawing on sculptures from the Collection of the Non-Aligned Countries—the only official repository of artworks exchanged through the cultural networks of the Non-Aligned Movement.

Focusing on female sculptural forms once tasked with embodying political ideals of self-determination and collective futures, the series reflects on the afterlives of projects of transnational solidarity. Many of the worlds from which these sculptures emerged have since been fractured by war, extraction, and geopolitical interventions, leaving these mothers of nations in becoming exist as fragile witnesses to unrealised political imaginaries.

Released on the occasion of the Hamburg Triennial of Photography 2026, the edition is available in two formats, each limited to 100 copies.

Jasmina Cibic’s series The Gallery of Non-Aligned continues the artist’s exploration of political gifting—acts through which national and transnational alliances are staged, negotiated and sustained through culture.

Drawing on sculptures from the Collection of the Non-Aligned Countries — assembled through exchanges between states, artists, and cultural institutions participating in the Non-Aligned Movement — the series examines the afterlives of artworks once circulated as gestures of political alliance. Removed from their original ceremonial and political contexts, the photographed sculptures are revisited not merely as historical artefacts, but as carriers of unrealised political aspirations and alternative geopolitical imaginaries.

Cibic isolates female sculptural forms — torsos, busts, and heads — foregrounding the burden historically placed upon allegorical female bodies to embody nations, ideals, and collective futures while remaining mute within systems of representation. Against intensely saturated backgrounds suggestive of diplomatic display, national symbolism, and photographic portraiture, the sculptures appear both monumental and vulnerable. The presence of moths introduces a subtle disturbance into the image: a slow process of erosion that unsettles the permanence traditionally associated with monuments and state narratives.

Rather than treating decay solely as loss, the series positions these fragile surfaces as reminders of the political possibilities once embedded within projects of transnational solidarity and anti-colonial self-determination. Drawing on the visual language of vanitas, the works ask what disappears when such visions are neglected, but equally what might still persist within their remnants, awaiting reactivation through memory, imagination, and cultural transmission.