Fast Forward: I did not have to invent tales of my past
2025 Belgrade
Venice Architecture Biennale, Shortlisted
The exhibition reflects everyday life through the lens of another time. The “Dysons” work and see the world through the eyes of a fish, while altered animals observe a reality beyond the ordinary. The Vinča culture appears here as an early modern civilization, one that did not divide the natural from the artificial, but understood transformation through movement, ritual and repetition.
This continuity becomes central to the pavilion. The “Dyson” is each of us: contributing to the collective, working in cycles, wearing a kind of mask. Ancient rituals of fire and contemporary rituals of electricity belong to the same logic of repetition, adaptation and care. Like the Vinča people, the Dyson does not distinguish sharply between nature and technology. It encounters a world of dust, excess, movement and change.
The fish-like vision of the Dysons introduces a new way of seeing. Perception comes first, transformation follows. We see differently, and through that altered perception the world itself begins to change. The pavilion occupies this space of transition: between the real, the virtual and the actual; between human and artificial intelligence; between memory and invention.
The figurines become records of ourselves. They return to questions of identity, self-image and the way we wish to be remembered. For the Vinča culture, they reflected the surrounding world; here they reflect people, animation, technology, sky and movement. They function as mirrors as much as artefacts.
The pavilion therefore becomes an invitation to participate in a ritual whose mechanics remain partly unknown. Its purpose is to make the invisible visible: to explore a space where artificial intelligence and human intelligence coexist without opposition. Technology, which once seemed to separate us from nature, may now become the means through which we return to it.
Movement and form merge throughout the installation. The figures exist through motion, and the architecture itself is understood as a sequence of choreographed actions. In this sense, change becomes more important than fixed form. The Vinča masks, the Dysons and the pavilion all point toward the same idea: the natural can persist within the artificial, and the artificial can become another way of understanding life.
This continuity becomes central to the pavilion. The “Dyson” is each of us: contributing to the collective, working in cycles, wearing a kind of mask. Ancient rituals of fire and contemporary rituals of electricity belong to the same logic of repetition, adaptation and care. Like the Vinča people, the Dyson does not distinguish sharply between nature and technology. It encounters a world of dust, excess, movement and change.
The fish-like vision of the Dysons introduces a new way of seeing. Perception comes first, transformation follows. We see differently, and through that altered perception the world itself begins to change. The pavilion occupies this space of transition: between the real, the virtual and the actual; between human and artificial intelligence; between memory and invention.
The figurines become records of ourselves. They return to questions of identity, self-image and the way we wish to be remembered. For the Vinča culture, they reflected the surrounding world; here they reflect people, animation, technology, sky and movement. They function as mirrors as much as artefacts.
The pavilion therefore becomes an invitation to participate in a ritual whose mechanics remain partly unknown. Its purpose is to make the invisible visible: to explore a space where artificial intelligence and human intelligence coexist without opposition. Technology, which once seemed to separate us from nature, may now become the means through which we return to it.
Movement and form merge throughout the installation. The figures exist through motion, and the architecture itself is understood as a sequence of choreographed actions. In this sense, change becomes more important than fixed form. The Vinča masks, the Dysons and the pavilion all point toward the same idea: the natural can persist within the artificial, and the artificial can become another way of understanding life.
With
Jelena Rajovic, Rosa Siabi, Vladimir Milenkovic
