Maximum Profit - Minimum Time
2021
installation 180x2500x160 cm, essay (2019),
photography:
24x15 cm from 1964 by Petar Vulović / photo of the branch of the National Bank of Yugoslavia and
24x17 cm from 2016 by Irena Lagator Pejović / photo of the current Art Gallery ,,Miodrag dado Đurić”, National Museum of Montenegro
Exhibition/Venue: Future in Debris/Future Ecologies, Petrović Njegoš Foundation, Podgorica, Montenegro. Curated by Natalija Vujošević.
Photo: Irena Lagator Pejović
The essay and a photography diptych as a spatial installation Maximum Profit - Minimum Time, examines two case studies of Yugoslav art and architecture that provide insights into Monenegro’s transition to neoliberalism as well as cultural and social consequences caused by that transition. Lagator explores changes in public space and the public sphere through a combined analysis of the history of the ex SDK building in Cetinje designed by the Yugoslav architect Petar Vulović and a performance by the artist Ilija Šoškić pertaining to institutional critique. This essay critically emphasizes a relevant issue of the particular stage at which a society, paradoxically, is when it allows the ethical action of its own cultural heritage to vanish in an attempt to achieve maximum profit in minimum time. The assay is also awailable at:
https://post.moma.org/maximum-profit-minimum-time/
2021
installation 180x2500x160 cm, essay (2019),
photography:
24x15 cm from 1964 by Petar Vulović / photo of the branch of the National Bank of Yugoslavia and
24x17 cm from 2016 by Irena Lagator Pejović / photo of the current Art Gallery ,,Miodrag dado Đurić”, National Museum of Montenegro
Exhibition/Venue: Future in Debris/Future Ecologies, Petrović Njegoš Foundation, Podgorica, Montenegro. Curated by Natalija Vujošević.
Photo: Irena Lagator Pejović
The essay and a photography diptych as a spatial installation Maximum Profit - Minimum Time, examines two case studies of Yugoslav art and architecture that provide insights into Monenegro’s transition to neoliberalism as well as cultural and social consequences caused by that transition. Lagator explores changes in public space and the public sphere through a combined analysis of the history of the ex SDK building in Cetinje designed by the Yugoslav architect Petar Vulović and a performance by the artist Ilija Šoškić pertaining to institutional critique. This essay critically emphasizes a relevant issue of the particular stage at which a society, paradoxically, is when it allows the ethical action of its own cultural heritage to vanish in an attempt to achieve maximum profit in minimum time. The assay is also awailable at:
https://post.moma.org/maximum-profit-minimum-time/