In his work, Maljkovic processes various methods, such as the use of individual and collective relationships through the complexity of time, the collage approach and self-reference by taking his earlier works as raw material and playing with the nature of the gaze. In his collages he questions the nature of various spaces, such as image space, working and living space, city space and personal space.

There is a certain parallelism on stage in which everyday routine and artistic practice are problematized. This procedure itself is visible on the two-dimensional surface: the central point of this relationship is articulated in the juxtaposition of a photograph of everyday routine and a drawing placed on the image as a vignette that evokes a network of various metamorphoses of the artist’s work.

Although these two realities become a whole in the formal sense, the author, in a way, also refuses to fixate them into a final form. This two-fold openness of the completed work and the way it is shown are Maljkovic’s crucial areas of interest. Gesture and process shatter the intermediary of the two realities and, in a way, the interspace itself becomes the theme.

Narration is a fundamental element in Maljkovic’s work, however it is often only present in a concealed way. The deconstruction of a posed narrative and the disruption of the image are also evident in the video, which is on show in the Bakery. In this piece the intimate space rejects its own mood, and by this repudiation, it becomes a hybrid artifact enabling new experiences.

Vignettes is orchestrated around subtle signs that serve as guidelines in the reconstruction of fragments, transformations, metamorphoses and references through which it is possible to act in the moment.