Nina Todorović’s exhibition Mapping of Deconstruction held at the Museum of Applied Art represents the continuation of the research that this artist has been developing within the project Architecture of Memory and that she has displayed in several gallery spaces in Serbia and the region. What characterises the entire work of Nina Todorović is an evolutionary continuity which generates links among her earlier artworks, and leads us to new areas of research featuring the development of this artist. The starting steps in the creation of the project Architecture of Memory coincided with the beginning of the transition period in Serbia in the 2000s. Changing of the city’s structure and its appearance, mostly the urban core of Belgrade, expansion of the existing facilities, and uncontrolled and unplanned construction of new residential buildings created the context in which Nina Todorović was moving at the time – context that has not disappeared, but still makes the starting point of her artworks.
At the exhibition Mapping of Deconstruction, the artist records the imprints of demolished, missing houses, not only in Belgrade, but also in other towns in Serbia, by means of digital images as the starting medium.
Each exhibition of Nina Todorović actively includes exhibiting space so that the works are perceived not only as exhibits, but primarily as conceptual wholes with the characteristics of art installations. Thus, each spatial segment in the Museum of Applied Art is designed as an ambient event, where windows are also used as active exhibiting places that are in dialogue with the exhibited photographic works. The artist very thoughtfully directs the visitor’s moving through the exhibition. Firstly, she presents him/her the large-format digital prints of the façades directly mounted on the walls of the room hosting frames and transparent foils with the motifs of maps placed on windows. Then, the visitor enters the room hosting original photographs surrounded with the prints modified by a glitch generator, printed on aluminium, in order to take him/her, through the passage of the artist’s works created in mixed media by manual interventions with acrylic paints, under the title Nefelomanzia, as well as through the collages titled Architecture of Memory (Deconstruction), to the next segment composed of several ambient installations. There is also the installation composed of plexiglass pieces titled Pattern Recognition (Deconstruction) through which the visitor moves, and where each point reveals a new chaotic situation. In the installation Life’s a Glitch (Deconstruction) the visitor meets with an imaginary, holographic, three-dimensional space resembling the ghost made from the photographs of the demolished houses’ imprints, modified by a glitch program. A glitch is a fault or a short-lived, transient error in a system, which usually corrects itself, and is therefore difficult to detect and troubleshoot. Inspired by the function, place and symbolic meaning of this phenomenon, many artists have created the works which incorporate a glitch in different manners. Installation Decoding of Altered Memory is composed of a long line of binary codes printed on the several-dozen-meter-long strips hanging from the ceiling.
The essence of Nina Todorović’s work still adheres to the phenomenon of memory and research presented in a completely new manner. Using a trans-disciplinary approach in the manner of documenting, Nina perceives the past, present and future, in which neither an individual nor a collective are marginalised, but in which they have an active social role.
from the Maida Gruden's text
"Making things visible"
from the exhibition catalogue