Works on Paper

Instructions

2015

Landscape as a national construct.

Cibic’s practice is grounded in the use of archives and historical ready-mades, which she juxtaposes as a method of tracing patterns across time. The series Instructions (2015) marked the artist’s first encounter with the archive of albums gifted to Josip Broz Tito by official state photographers, commissioned to accompany diplomatic travels and document visits of foreign leaders to former Yugoslavia. Over decades of research, Cibic has continued to sift through this material, isolating images of landscapes—moments captured in the absence of political actors. These seemingly neutral views pose a question: are they sites of aesthetic contemplation, or carefully staged terrains of political encounter?

Cibic intervenes in these photographs through collage, introducing incisions that echo architectural forms deployed by the state as instruments of spatial and ideological framing. This secondary layer of construction disrupts the image’s original composition, inserting new geometries into the landscape and exposing the mechanisms through which place is produced and represented.

The photographers, “employed by the state,” documented the scenographic backdrops of Yugoslav diplomacy across the member states of the Non-Aligned Movement, contributing to the visual language of an emerging geopolitical project. By cutting into and reconfiguring these images, Cibic overlays them with motifs drawn from the aesthetic vocabulary of the movement, destabilising their status as “nationally representative” views and opening them to speculative reinterpretation of the emerging transnational seeds.

Together, these works interrogate the production of national and transnational consciousness, raising questions about the resilience of cultural production when entangled in shifting political agendas and its persistent role as both instrument and witness within systems of power.

Publications

Róna Kopeczky The nation loves it 2015

Róna Kopeczky’s curatorial introduction presents The Nation Loves It, the first chapter of Spielraum, as an immersive dissection of the state as spectacle. Bringing together film, installation, performance, and sculptural elements, the project examines how visual language, architecture, and political rhetoric are orchestrated to construct and project national identity, drawing on the historical context of Yugoslavia’s staging of the Non-Aligned Movement in 1961.

The exhibition unfolds as a spatial and narrative system in which geometric forms derived from architectural plans, archival imagery, and fragments of political speeches are reassembled into a new visual and rhetorical vocabulary. Through this process of fragmentation and recomposition, Cibic reveals the mechanisms by which power produces meaning—transforming ornament, language, and space into instruments of ideological persuasion.

At its centre, a female protagonist rehearses a composite speech assembled from archival sources, including foundation stone ceremonies, official inaugurations, and presidential addresses marking grand state projects. Fragmentary and iterative, the speech continuously shifts through variations of similar rhetorical formulas, exposing how political language is constructed, rehearsed, and repeated across different contexts and regimes. Embodying both the architect and product of nation-building, the figure reveals the circularity and theatricality of these processes, in which each new political formation depends on the reinvention of its visual and linguistic codes.