David Maljkovic’s (1973, Rijeka, HR) oeuvre focuses on the historical artistic legacy of modernism, his own work and art in general. Maljkovic often researches the past in order to imagine the future: he often re-evaluates his existing artworks for the sake of progress, which lends an ever-developing nature to his works on view.

There is a certain parallelism on stage in which everyday routine and artistic practice are problematised. 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.

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.