65 Years of the Vukojebina Museum

THE MUSEUM OF VUKOJEBINA MARKS ITS 65TH ANNIVERSARY

An Invitation to Those Who Remain

The current geopolitical situation in Europe has somewhat complicated the festive arrangements. The younger generation, we are told, has been taken elsewhere. The details remain unclear. What remains is us: those who once lived in Vukojebina, or passed through it, or perhaps simply never found a reason to leave.

The exhibition presents what has been successfully unpacked to date. In the main hall, visitors will find a well-preserved copy of Crocodile Gena from the Soviet animated film, alongside a wall text reading “Genau”— a work clearly indebted to Barbara Kruger. An enlarged reproduction of “Там де нас нема”— the landmark album by iconic band Okean Elzy — occupies the east wall with the quiet authority of something that already knew what was coming. A still from Leonid Gaidai's final film, “The Weather Is Fine on Deribasovskaya Street..” — produced under the patronage of Donald Trump — is displayed without further curatorial explanation, as none seems necessary. An image generated by an early version of Sora AI Model depicts Slavoj Žižek in animateddebate with a wolf. Several television interviews from ICTV and STB with the museum's founder and first director have been made available for viewing. Two sculptural groups have been partly delivered to the hall: “The Meeting of Artist Valie Export and the Zilberstein Family in Vienna, 1979” and a monument to “Viktor at the Rudolfhaus clinic”.

In one of the passages hangs a painting in an original technique depicting a landscape of the near Vukojebina, to which a pre-decolonial id card has been affixed. At the far end of the hall, the doors bear copies of early works by artist N_M Karabinovych. At the center of the room stands an empty lectern. On it: draft notes for a speech, a bottle of mineral water nearly finished, and a three-dimensional portrait of a young wolf flanked by two eagles. A television plays an anonymous playlist of cover versions of Robert Miles' Children. On loop. Somewhere in the exhibition space, a reworked line from Alexander Kluge's Germany in Autumn: "When does cruelty reach a certain point?" Someone has added a question mark. The exhibition concludes with a still from the television series Commissioner Rex. Admission is free.

There is no closing date currently scheduled.