The exhibition 'Failed / nije uspio / пропао' by artist Leo Vukelić explores the tensions between victory and defeat and how their perception changes over time and in different social contexts. Through a series of works, the exhibition examines the idea of success and failure, questioning how the past with its political and social norms can be reinterpreted and redefined in the present.

The works in this exhibition are connected through the symbolism of the white flag, a universal sign of surrender and failure, but also a space for reflection and new beginnings. The white flag, appearing in various forms, here symbolizes not only defeat but also a questioning of victory. The works reflect on moments from the past, such as the iconic image of Marina Abramović on a white horse, which in different social contexts and periods could be perceived as a symbol of triumph or defeat.

By re-exhibiting the thesis work after twenty years, the exhibition poses the question: Has anything really changed? Or are we still trapped in the same paradigms and challenges as two decades ago? How do social and political changes reflect in artistic creation, and what do they tell us about the current state of the world?

Installations and photomontages use everyday symbols and objects, transforming them into reflections of lost ideals and questioning our current reality. Fans moving flags with the inscription 'Paradise Lost' or models of objects of contemporary life become allegories of the fragility of our dreams and aspirations. All these images and symbols build a narrative about a world facing its own failures, but also about the possibility of new beginnings.

While reflecting on the past and present, the exhibition also raises inevitable questions about our future. Have we as a society reached the 'point of no return' already? Have we irreversibly destroyed the paradise we inherited, as suggested by Milton's 'Paradise Lost'? And finally, have we already sold our souls to the devil, or are we yet to sell them? These questions become central in considering how far we have strayed from our initial ideals and how willing we are to rethink our actions.

The future evoked by the exhibition may not be fully determined, but it inevitably involves facing past mistakes. In this process lies the hope that, even if we have faced our own downfall, we can still find a path to renewal. Will today's paradigms be recognized as success or failure in the eyes of future generations? And what are we willing to sacrifice for that success? This exhibition does not provide definitive answers but calls for deeper reflection and dialogue on the direction in which we are heading as a society.