The exhibition presents several decades of work by Tanja Lažetić, an established Slovenian intermedia artist active in photography, video, installation, performance, ceramics, artist’s books and painting, whose practice consistently explores the questions of time, memory and identity. This retrospective of her work centres on one of the key areas of the artist’s practice: an ongoing investigation into the relativity and fragility of the relationships between truth and falsehood, the visible and the concealed, and on questions of how we experience the past, how memories change, disintegrate, and, at the same time, are preserved. Through the lens of a female artist, without recourse to overt activism and through a subtle yet decisive visual language, she explores how personal and social contexts shape our view of reality.

In the artist’s oeuvre, the medium itself acts as an integral component of the concept, rather than merely a tool. The key creative process used by Lažetić over the years is based on cutting, stitching, cracking and layering, as well as fragmentation and reassembly. Through these acts, photographs, objects and stories are dismantled and, through appropriation and reinterpretation, reconfigured into new wholes. The basic unit of narration thus becomes not only the fragment, but also the empty, missing space, in which absence becomes the bearer of those other, invisible messages and images.

Bringing together works from 1997 to the present, including Govedji gulaš (1997), Wherever I am not (2000), Whore (2010), Lilith at the Red Sea (2018), Flowers (2019–2025), Dialogue in the Kitchen, Part II (2026), in which the artist incorporates artificial intelligence as an interlocutor, the exhibition also presents her ongoing body of artist’s books, collected as an object in The Red Box (2006–2025), conceived as a form of self-historicisation of her own archive. Throughout the installation as a whole, we can trace the central themes addressed by the artist through the iconography of the female body and identity as a site of social projection and control, where, through concealment, cutting and sewing, she opens up a space of autonomy and dismantles prejudices. She further amplifies this through the seemingly banal motif of flowers, which she employs primarily as a means of deconstructing ideals of femininity and society’s obsession with perfection. More recently, this inquiry has extended into painting, which she approaches as a conceptual and emancipatory gesture of liberating the medium from prescribed artistic norms.

Through the exhibition, the art of Tanja Lažetić establishes a field of reflection on the impermanence of truth and the ways in which it is constructed, often emerging precisely within the charged chasm between the image and its absence, particularly as the viewer becomes an active participant in the production of meaning.

Tanja Lažetić graduated in 1994 from the Faculty of Architecture at the University of Ljubljana. Between 1997 and 2025, she exhibited at leading (international) art venues including  MG+MSUM, Ljubljana; Neuer Berliner Kunstverein, Berlin; the Real Academia de Bellas Artes de San Fernando, Madrid;  the International Biennial of Graphic Arts, MGLC, Ljubljana; Brighton Photo Biennial, Brighton, England; Nanjing Festival, Nanjing, China; and Gagosian Gallery with presentations in New York, Beverly Hills and Paris, among others. Her works are held in important public collections, including the National Museum of Slovenia, Ljubljana; Museum of Modern Art, Ljubljana; the International Centre of Graphic Arts, Ljubljana; and Muzej Lah, Bled. Her photobooks are part of prominent international collections, including MOMA Artists’ Books Collection (New York), Tate Collection of Artists’ Books (London) and Bibliothèque Kandinsky (Centre Pompidou, Paris). She received an award at the UNICUM International Ceramics Triennial, Ljubljana, in 2015, and the national Rihard Jakopič Recognition award (ZDSLU, Ljubljana) in 2017.