Art &
Innovations
in Museums
20.05.2026
Voices
of Rivers
A multimedia installation about how rivers shape identity, memory and cultural connection.
Produced by
c² Command
Voices
of Rivers
Exhibition May 18–20, 2026 Novi Sad, Serbia, BIRO, Kreativni Distrikt
Vernissage May 20, opening time to be announced
The project started from a personal encounter of photographer Anna Frantsuzova, one of the authors of the installation. More precisely, in a conversation that she had with a ninety-year-old man from Serbia, who said that if you get into a boat in his town, you can reach Saint Petersburg, the city where she is from. This simple phrase made her think that continuous water path is not just geographic. It was a way to think about how places, histories, and lives are connected.
This remark led to the main question of the project: how does a river shape the way people think and feel in different cultural contexts. Reflecting on her own long connection with the Neva, Anna came to a simple idea. A river can become a kind of anchor through which a person builds both personal and collective identity, through memory, everyday life, and culture.
The project is designed as research. For the author, who works in academia, it is important to use a method that is almost impossible in science. This method is a lived experience. The relation to the river is not analyzed from a distance. It is seen through sound, image, memory, personal stories, and physical objects. And the viewer becomes part of this research, instead of observing a finished result, they enter it themselves.
The co-authors of the project are Katarina Čokrlić and Tijana Jevrić. This collaboration of three authors brings together different methods, perspectives, and ways of experiencing the river. It also connects different locations and cultural backgrounds.
The installation is not offering any conclusions, it is rather an environment, which viewer enters as a participant. The space invites associations, memories, and personal reflections.
The project consists of three main layers: photography, sound, and video.
Analog photography fixes a moment as something unique and unrepeatable. It keeps the viewer in the present, in a specific moment of experience. It shows how fragile memory is and how closely it is tied to personal perception. These images of rivers and cities form a subjective map of a city by the river.
Sound and video are doing quite the opposite. Recorded sound of the rivers, made in everyday surroundings, same as video are shifting perception towards the flow of time. They move the viewer beyond a single moment into duration, into a space where past and future can coexist. The river is felt not as a point, but as a process.
Another layer includes personal stories and small physical objects. Short texts connected to specific places by the water, along with items such as stones, grains, or pieces of fabric, they bring traces of human presence into the space. These elements act as markers of memory and show how individual experience becomes part of a larger context.
The final form of the project is not fixed in advance. It comes together during installation. So we invite you to be part of it and experience Danube and Neva with us.
Produced by C² Command in collaboration with Tijana Jevrić, presented as part of the AIMs 2026 program.
Produced by c² Command
On
the Line
Theatre photography returns to a temporary stage. Images are suspended between holding and disappearance.
On
the Line
Exhibition May 18–20, 2026 Novi Sad, Serbia, BIRO, Kreativni Distrikt
Vernissage May 20, opening time to be announced
Theatre is an art that exists in the moment. It emerges and disappears like drawings in the sand, inevitably washed away by the wave of time.
Theatrical photography is an attempt to resist this. A theatre photographer captures a moment, extends its life, and brings into the image their own perspective, point of view, and relationship to what unfolds on stage. What emerges is an image that is no longer identical to the performance, yet retains its tension, gesture, and atmosphere.
The exhibition space is constructed as a set of symbolic theatrical boards: a wooden structure defines the boundary of the stage. The images captured by photographers return to the space of theatrical ritual. Within this exhibition, photography once again enters a state of temporality. The photographs are not fixed, but held only for a time, like a pause, like a suspended gesture. The viewer moves through this space as through a performance: sequentially, in time, assembling individual frames into a single experience.
Thus, photography returns to the logic of theatre from which it emerges. What matters is not the image as an object, but the moment of encountering it.
However, in the end, this logic is deliberately disrupted. The photographs can be taken away by visitors and with this, the exhibition itself disappears. The stage dissolves, and the moments leave its boundaries, continuing to exist in another context, in memory, in personal experience, outside the shared space.
The title On the Line captures this condition: the image exists on the line between holding and disappearance, between the stage and what lies beyond it.
The project is realized in collaboration between the International Art and Innovation in Museums Seminar (AIMs-2026) and the International Theatre Photography Competition THEATRE EXPOSED.
AIMs-2026 & Theatre Exposed project
Kreativni Distrikt
