Interview: Sandra Lakićević
Deze zaterdag opent de expo van Sandra Lakićević in de hal van Stelplaats 🧷
De Brusselse kunstenaar uit Servië presenteert er ‘A Narrative against Narrative’ — een verzameling werken uit drie expo’s die tezamen een nieuw narratief vormen in de ruwe context van onze hal. Een expo gecreëerd uit herinneringen en perspectieven doorheen het leven van de ex-Broeiplaats resident.
De opening van de expo vindt zaterdag in plaats van 16 tot 20u, nadien is Sandra’s expo dagelijks te bezichtigen in de hal van Stelplaats van 12 tot 18u tot en met 8 april!
Ter gelegenheid strikten we Sandra voor een interview over haar roots, inspiratie, toekomstplannen en meer.
Hi Sandra! Tell us a bit more about yourself.
I am a Serbian-born and Brussels-based artist. I studied painting at the Faculty of Fine Arts in Belgrade, then moved on to visual arts at LUCA School of Arts in Brussels. My practice involves different media (printed matter, performance, video, installation), but always revolves around the notions of time and memory.
More specifically, I am interested in the cycle of remembering and forgetting and the scope of personal and collective image-making. Recently, I also started investigating the symbiotic relationship between architecture and memory, where I find inspiration in the individual histories of different exhibition spaces.
From 01/04 until 08/04, you’ll be bringing your solo show "A Narrative against Narrative" to Stelplaats. What is this project about?
The exhibition A Narrative against Narrative encompasses works from my ongoing series Talking fibres (2019-), a video installation From ‘already no longer’ to ‘not yet’ (2020) and a series of works on paper conceived during my live performances of Lag (2019-).
The exhibition’s title refers to the idea that connects the works: conveying a narrative without explicitly telling a story. Although the notion of a storyline is still present, it has been moved to an abstract level and implied through the accumulation of images and repetition of gestures. For this exhibition, I also created a site-specific work considering the architecture and history of the space itself.
This isn’t the first project you’ve done at Stelplaats, right?
Indeed. In 2019, I was an artist in residence at former Broeiplaats which was part of Stelplaats. I used that opportunity to start working on the Talking Fibres series and also to get familiar with the space. Ever since that period, I have been intrigued by the transformation of the De Lijn garage into a cultural center and drawn by its architecture.
Memory and narratives of the present and past seem to be recurring in multiple projects of yours. Why do these themes resonate with you?
I can’t precisely tell how I got there, but I think it was a series of questions and events where one thing led to another. My work has been affected by life in post-socialist Yugoslavia. Back in Serbia, that work often reflected my perception of the socio-political factors that contributed to the cultural narrative of that life.
Having moved to Belgium and having been given an opportunity to observe my work from a different perspective, I felt a need to distance myself from the acquired and heavily localized perceptive filters that made up who I was. It is also the rejection of that previous narrative that now makes me wonder — am I not creating just another kind of narrative? One which is, perhaps, not meant to tell a story of the past, but which the past, nevertheless, gives rise to?
Any future plans we should look out for?
In June, I will start my residency at The Green Corridor in Brussels where I intend to develop a new work that relates to that space. There will be a public presentation and an end-of-residency exhibition. I am also preparing a big solo show at the Contemporary Art Gallery Subotica in Serbia for the end of the year. The gallery is located in the palace of Ferenc Raichle — a protected cultural monument with rich historical heritage — so I am eagerly looking forward to that.