Installation view, exhibition The Dreams We Call Our Own (solo), Museum of Contemporary Art Zagreb 2023, photo: Damir Žižić

Photography

The Gallery of Non-Aligned

2023

A study of political gifting: how cultural alliances are constructed, displayed, and eroded.

Installation view, exhibition The Dreams We Call Our Own (solo), Museum of Contemporary Art Zagreb 2023, photo: Damir Žižić

The Gallery of Non-Aligned continues Cibic’s engagement with a highly specific set of archives, revisiting collections shaped by acts of political gifting—gestures intended to establish and sustain national and transnational relations through culture.

The series presents photographic portraits of selected sculptures from the collection of the Art Gallery of the Non-Aligned Countries, held at the Centre for Contemporary Art of Montenegro. This collection remains the only official repository of artworks donated by heads of state, cultural workers, and artists from countries of the Non-Aligned Movement.

The Non-Aligned Movement can be understood as one of several critical “anti-systemic world-making projects” (Getachew) emerging after the Second World War: a form of transnational solidarity that proposed a counter-hegemonic vision of modernisation and globalisation, largely articulated outside the European sphere, with the notable exception of socialist Yugoslavia. In this context, NAM offered alternatives not only to Cold War binaries, but also to the enduring asymmetries between North and South following colonial rule.

Cibic’s series focuses exclusively on sculptures of the female form—torsos, busts, and heads—figures that operate as allegories of emerging “mother-nations.” Photographed against saturated, colour-field backgrounds, the works evoke the visual language of flags and national iconographies. At the same time, the surfaces of the sculptures are marked by moths, introducing references to decay, erosion, and vanitas traditions. These elements register the fragility of the political imaginaries the works once embodied, foregrounding what is at stake in the forgetting of alternative models of world-making.

The project is made with support of the Art Collection of Non-Aligned Countries Laboratory project at Centre of Contemporary Art Montenegro. The Laboratory is led and developed by a team of curators and conservators: Marina Šaranović, Anita Ćulafić, Nada Baković and Natalija Vujošević.

Publication

Ameli Klein How many voices does it take to form a choir? Jasmina Cibic’s anti-systemic world-making, Camera Austria, issue 167 2024

Ameli Klein’s text examines Jasmina Cibic’s work as a sustained investigation into the relationship between art, architecture, and ideology, focusing on how cultural production participates in systems of power. She frames Cibic’s practice as one that reveals the mechanisms through which nations construct and project identity—particularly through architecture, exhibition formats, and performative staging.

Klein emphasises Cibic’s use of historical material and reconstruction, noting how the artist reworks archives, fragments, and absent structures to expose the instability of official narratives. Rather than presenting history as fixed, Cibic’s works demonstrate how it is continuously rewritten through visual and spatial strategies.

A key thread in Klein’s analysis is the role of performance and display: bodies, buildings, and images are choreographed to articulate ideological positions, often masking underlying tensions between political ideals and their realities. Cibic’s work thus operates in a space between fiction and documentation, where constructed narratives reveal the artificiality of national myths.

Ultimately, Klein positions Cibic’s practice as a critical form of “world-making”—one that dissects the visual languages of power while proposing alternative ways of reading history, identity, and cultural representation.