The viewer can actually taste the jet-lag in these photos. To say that the world is small is a truism; what we see here is that globalization itself has a distinct regional flavor. The globe is a time-honored, walkable place, a world-city rather like downtown Belgrade, with an allure pasted over rumpled infrastructure. It's a modest, intimate arena of subdued glows, cranes,clouds, cars, and concrete: a universal fading semiotics of human need, addressed to anyone and no one.

Bruce Sterling

"Somewhere Better Than This Place"
"Nowhere Better Than This Place"
Felix Gonzales-Torres

I can live in any part of the world, if there is an airport nearby investigates the relationship between different sites around the world: Belgrade, Hong Kong, London and Los Angeles. All these places are very intimately linked to the being of Slavna Martinovic. It is the artist who invites the viewer to become a guest in transit via this multimedia installation. By traversing the gallery and absorbing the eighteen photographs, the onlooker hops from one continent to another, becoming a global dweller instantaneously. The ceremonial act of viewing artwork in silence is being disturbed by the sound of cityscapes, a murmuring in Chinese, English and Serbian. Martinovic is aware of many troubling aspects of contemporary social life and the baggage that "global citizens" carry within. The viewer becomes encouraged to fulfill a role as participant in an exploration of possibilities for making her or his world the best place ever. The no-place ambivalence of the captured topographies in Martinovic's photographs is a space that contains a definitive influence on the idea of a utopia, an attempt to create a particular space that could be anywhere and produce the conditions of a stable society that is somewhere. The sound in the galleries becomes an open-ended narrative in three languages that is experienced by the audience as a virtual reality of the geographies represented in the landscapes that the photographer has captured. Slavna Martinovic exemplifies a very private experience, exposing it in a very subtle manner, without too many cues to understand the work. The oeuvre becomes very sparse visually, yet very appealing to the senses: hearing, walking, reading, and being in the space. The exhibition addresses issues of sociocultural construction of space and the individual participation in depersonalized arenas. These perhaps become the spaces of solitude, anonymity a 'no place' where the individual is only a spectator. It is specifically these environments the subway, the motel, or the skyline that enable people to move quickly from one place to another. We situate them as a site of nomadism where urban travelers of contemporary mega cities search for a place that it is in between somewhere and nowhere

Bozidar Boskovic