The Swiss-Serbian artist and art critic Ana Vujic has long been reflecting on social criticism, urbanism and street art as well as scrutinising media representation of socio-economic realities and conflicts. Preferably, she goes about this artistically with found material and coarse instruments, in this particular case working on especially large formats and in stark contrasts of black and white.
Deeper motivations of the artist are a search for truth, the questioning of representation and laying bare sinister states of affairs in the current crises and the corresponding emotions and emotional denials. These interferences and representations of images of a society in crisis address emotions of desperation and hope, hopelessness and anger alike and culminate in an Alfons Mucha-evoking allegory of melancholia as "the West" tired and passive, wearily fallen asleep in front of a newspaper or TV screen.
In the contemporary art world, Ana Vujic's is an incredibly refreshed outlook on the role of art in society and a strong statement as to how art can process and transform individual and collective emotions into images, thereby allowing and enabling repressed reactions to take sometimes loud, sometimes melancholy shape.