A reclaimed brick, bearing three inscriptions of the word ‘MIR’ (peace) in blue and sealed in a layer of wax, becomes both testimony and invocation—a subtle, ambivalent dialogue between the weight of memory and a gesture toward the future.This artwork in our collection inspired the invitation of artist Vladimir Miljević (1994, Zürich) to participate in Inside Artphilein, our multifaceted platform. It offers artists the opportunity to relate with an artwork of their choice from the collection, within the evocative setting of La Piscina in Paradiso. Here, the artist showcases his own exhibition, assisted by a curator—in this case, Daniele Agostini. The project culminates in a publication by Artphilein Editions: a book created by and for the artist, capturing his reflections and intentions, that features images taken in the artist’s studio and at La Piscina by Vittoria Fragapane, leaving a lasting trace of his poetic vision and artistic identity.On his first visit to La Piscina, Vladimir Miljević encountered The Lacemaker’s Notebook (2012) by Pierre Fouché (1977, Pretoria, South Africa) and immediately connected with the artist’s visual language, uncovering unexpected affinities.Miljević’s artistic practice delves into themes of historical memory and collective identity through installations, sculptures, and performances. His works often incorporate fragments imbued with existing meanings, which are transformed when placed in a contemporary context.In conversation with Fouché’s piece, a dialogue emerges around the construction of identity. Both artists engage with textiles, language, and found materials, using them as vessels of cultural and personal significance. Their work reveals how history is inscribed in form: while Miljević explores migration and linguistic fragmentation, Fouché interrogates gender and colonial legacies through intricate craftsmanship and reinterpreted traditional techniques. Together, their practices offer distinct yet interconnected perspectives on belonging, visibility, and cultural transmission.This publication includes an essay by Nicola Hederich, offering deeper insight into Vladimir Miljević’s exhibition at La Piscina.
Related
Related
Related
Related