- Visual Art
- Installation
Multiplicity, Vol. I: The Organism
Ina Djurković
3 July 2026 19:00 – 4 July 2026 00:00
4 July 2026 12:00 – 5 July 2026 00:00
5 July 2026 12:00–19:00
Multiplicity is a two-part exhibition exploring identity not as a single, fixed entity, but as a growing, branching plant. It visualizes the human psyche not as a linear, chronological family tree, but as a fluid map of connections and encounters we forge throughout our lives. It explores the idea that every person we meet holds a slightly different version of us in their mind; with every new path we cross, more versions of ourselves are created. Spread across two locations, the exhibition uses the metaphor of a "tree of the self" and navigates the tension between the flowing, active narrative of who we are, while also exploring the dormant topography of who we might have been.
Multiplicity, Vol. I: The Organism presents a monumental 8-meter-long watercolor on unstretched cotton. It depicts a continuous botanical vine that grows human heads instead of flowers, representing multiple iterations of the same self. The massive suspended canvas invites viewers to physically walk along the "border" of the self. Dropping vertically through the space and pooling onto the floor, the work reveals identity as an organic, shifting structure developed through constant, visible exchange.
Multiplicity, Vol. I: The Organism presents a monumental 8-meter-long watercolor on unstretched cotton. It depicts a continuous botanical vine that grows human heads instead of flowers, representing multiple iterations of the same self. The massive suspended canvas invites viewers to physically walk along the "border" of the self. Dropping vertically through the space and pooling onto the floor, the work reveals identity as an organic, shifting structure developed through constant, visible exchange.
Biography
Ina Djurković
Ina Djurković is a Berlin-based artist from Serbia who explores the fluid, evolving nature of human identity. Drawing from her architectural background, she translates the invisible development of the inner self into physical topographies. Initially turning to painting as a form of meditation, Djurković works highly intuitively. Her monumental watercolors use a wet-on-wet technique completed in a single pass. This deliberate surrender of control challenges perfectionism, allowing the medium’s natural fluidity to shape organic faces and plant structures. Now expanding into immersive sculptural environments, she maps the psyche as a rhizomatic network of encounters, making the dormant potentials and multiplying versions of the self spatially tangible.
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