Irena Lagator Pejović


Shared Air


ink drawing on canvas

32 x 22 cm, each

Courtesy of the artist.

Exhibitions/Venues: Irena Lagator Pejović, Blurred Landscapes, Petrović Njegoš Foundation and Center for Contemporary Art in cooperation with the Laboratory - art collection of the non-aligned countries, Podgorica, Montenegro, curated by Karolina Majewska-Güde, 2022.

Photo: Duško Miljanić


In a series of small, intimate paintings Shared Air Lagator creates poetic landscapes constructed through a repetition of chemical symbol of carbon (C) combining different models of representation of the natural world.


The research exhibition Blurred Landscapes examines the affective heritage and possible futures of the utopia of peaceful coexistence championed by the Non-Aligned Movement and materialized, among others in a collection of the former Art Gallery of the Non-Aligned Countries “Josip Broz Tito”. It activates the idea of symbiotic living through the conceptual and performative engagement with the art collection of the non-aligned countries. The exhibition offers the embodied view of the NAM legacy and its decolonial practices, and its expansion through artistic engagement with objects, ideas, broken developments and the surrounding nature of the mentioned collection. The exhibition consists of two parts, an intervention on the pathway in the park and three artworks in the space of the Foundation. 


NAM was initiated by Yugoslavia in 1961 as an alternative political alliance between countries of the Global South that refused to take sides in the Cold War conflict. Solidarity between the non-aligned countries concerned mainly political and economic exchanges. But NAM was also a cultural project that enabled a circulation of objects and an exchange of and between artists and cultural workers in the Global South. The material aspect of this collaboration and exchange provided an opportunity to access different cultures without alienating and hierarchizing them. The collection of the former gallery founded in Podgorica in 1984 preserves the materiality of this political project of the non-aligned, functioning as an embodiment of horizontal, non-hierarchical culture of collecting based often on the practice of donation and gift. It is also a place of aligned connections between different modernisms and modernities. The collection was a part of the daily life of Titograd’s (present day Podgorica) citizens, until the dissolution of Yugoslavia. In 1995 it was integrated into Center for Contemporary Arts of Montenegro. (Karolina Majewska-Güde)