Beograd Concrete

About

The research proposed for this artist residency, which is deeply in line with Inês d'Orey's artistic work, is related to architecture and the identity that this gives to the territory where it operates, as had already happened in other cities such as Lisbon and Porto, Copenhagen or Tokyo. In the case of Belgrade, she was particularly interested in the mixture of styles and architectural references she found in the city, where public buildings were built between 1946 and 1980, and other housing or office buildings dating from the First World War, when Yugoslavia was formed, intersect.

In the book of the same name by Inês d'Orey, curator Andreia Garcia says: “In this journey through images, let us understand ourselves as passive subjects, just like the architects of the past, without losing the sense of the gaze, but reinforcing it over the gaze from the photograph that takes away the current and factual point of view about the definition of time, one that does not start from the tabula rasa, that does not go back to zero to understand or write what happens, but rather announces the changes that allow for advancement.” By crossing recent events in the history of this country, which now has Serbia as its name, it is also possible to understand, or try to understand, the impact that political programs have or can have on the identity and architecture of its cities.