The triptych addresses architecture as a means of symbolic communication, reflecting on the subconscious and subliminal in built objects from the artist’s immediate surroundings. In contrast with the often praised and well-known brutalist and communist architecture in Belgrade, the capital of former Yugoslavia, he looks at the post-communist, postmodern and proto-capitalist architecture in the city. Instead of the sturdy architecture of a brutalist object, whose mass is usually evenly distributed and resembles a block, the architecture from the post-Yugoslav period occasionally presents pyramids as part of their aesthetic. Marko Obradović sees the pyramid both as a symbol for the capitalist apparatus, and an enigmatic body that is often used to visually represent mystery. As a representative body, it appears in popular culture, conspiracy theories or semiotic difficulties: triangles, which make up the pyramid, usually represent the inequality between two and one.

(text by Natalija Paunić)

photography: Monika Ryglova, courtesy of the artist, Cejla art space (Brno) and Eugster || Belgrade