Exhibition 'Gescheitert / failed / пропао' by Leo Vukelić

The exhibition 'Gescheitert / failed / 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 interconnected 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 an interrogation of victory. The works reference moments from the past, such as the iconic image of Marina Abramović on a white horse, which in different social contexts and time periods could be perceived as a symbol of triumph or defeat.

By re-presenting a graduate work after twenty years, the exhibition raises 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 contemporary life objects become allegories for the fragility of our dreams and aspirations. All these images and symbols construct a narrative about a world facing its own failures, but also about the possibility of new beginnings.

The exhibition, while reflecting on the past and present, also raises inevitable questions about our future. Have we as a society already reached the 'point of no return'? 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 do so? These questions become central in contemplating how far we have strayed from our initial ideals and how willing we are to reassess our own actions.

The future evoked by the exhibition may not be fully determined yet, but it inevitably involves confronting past mistakes. In that 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 final answers, but invites deeper reflection and dialogue on the direction in which we are heading as a society.