In her previous art work Aleksandra Domanovic has been concerned primarily with the means of distributing and receiving images and information; she has investigated the way in which their tone and significance alters in different types of context and against the background of varying historical conditions. In her works Domanovic created odd-seeming systems of order and associative chains, and disclosed the geopolitical importance of Web domains. Most recently, her main interest has been in the multifaceted way in which image culture and information flows have influenced the post-war landscape in former Yugoslavia. Domanovic’s latest works, now being shown in K\u00fcnstlerhaus Bethanien, are closely connected with her own biography and link many of the artist’s childhood memories to political events during that period. Many of the new works also focus directly on the special ties that Yugoslavia always cultivated with the states of the Arab world, illuminating those relations and the associated cultural permeation in the light of the ideological and political changes now occurring in the Maghreb and Middle East: for example, Domanovic has adopted one of the typical anti-fascist monuments of former Yugoslavia and now presents its four raised, abstracted fists in the shape of reliefs, whose surface she has covered in tadelakt, an ancient, traditionally tested means of sealing stone and ceramic surfaces, used especially in the city of Marrakech.<\/p>\n","protected":false},"template":"","categories":[],"class_list":["post-1010","kb_exhibition","type-kb_exhibition","status-publish","hentry"],"acf":{"article_image":1196,"article_image_bu_de":"","article_image_bu_en":"","datum_suche":"2012-06-20 15:01:03"},"yoast_head":"\n