In the 1980s, the term ‘transition’ emerged in the social sciences with reference to a change process where a pre-existing regime was replaced by another. Human history has seen quite a number of such processes, which have led to the transformation of political, social, and economic structures, along with shifts in values, rules and norms. In today’s complex world, transitions do not necessarily progress linearly towards a more advanced state — on the contrary, they are often marked by uncertainty with no clear beginning or end.
Transitions can be manifested as gradual progression over extensive periods or sudden radical changes leading to upheaval such as revolution or war. They can even seem endless, and sometimes their outcomes only become clear when nostalgia sets in for some and inquisitiveness for others. Regardless of their nature, in most cases, transitions remain turbulent and painful for the societies experiencing them.
The exhibition explored this concept as an ambiguous and meandering process rather than a straightforward journey from point A to point B. The curators presented transition not only as a socio-political change but also as a deeply personal experience — examining its impact on cultural identity, individual lives, and collective memory, with a particular focus on two significant geopolitical contexts: the former Yugoslavia and Cuba.
These regions share comparable periods in their past, as both have a history as communist countries. Despite their geographical distance, they were shaped by similar ideological frameworks rooted in what the social sciences have termed Real Socialism.
The exhibition invited viewers to reflect on the unpredictable nature of transitions and their complexities through the works of artists representing distinct geographic areas — Cuba and the former Yugoslavia — as well as different generations, fostering a more nuanced dialogue.
Se trancó – All this will end in tears by Ismar Čirkinagić and Wild Horses from the series Comanche by Luis Gómez invite broader reflection on the nature of transition. Čirkinagić’s large domino pieces, incorporating a hidden warning written in Braille, reveal the inherent uncertainty and potential pain tied to change.
Exhibiting Artists
Antonia Eiriz (1929–1995, CU), Sanja Iveković (b. 1949, HR), Luis Gómez (b. 1968, CU), Nada Prlja (b. 1971, MK/DK), Ismar Čirkinagić (b. 1973, BA/DK), Ana Pavlović (b. 1977, RS/DK), Levi Orta (b. 1984, CU) and Luis López-Chávez (b. 1988, CU).
For more information, please visit I Do Art.