Current Programs


Kevin Jerome Everson, the abstract ideal

24th May – 24th June, 2019


Opening: 24th May 2019, Friday, 19h

Duration: 24th May – 24th June, 2019

Curator: Greg de Cuir Jr

MSUV Curator: Mirjana Dušić

After a celebrated solo presentation of his work for the cinema at Tate Modern in London in 2017, an expansive career overview at Harvard Film Archive in 2018, and a major retrospective of his films at Centre Pompidou in Paris in March this year as part of the festival Cinéma du réel, the influential US artist Kevin Jerome Everson arrives at the peak of his wildly successful career to the Museum of Contemporary Art Vojvodina in Novi Sad for a unique solo exhibition of his work. This gallery exhibition offers a selection of his short works on 16mm, installed as digital projections, as well as his eight-hour magnum opus Park Lanes (2015).

Kevin Jerome Everson is the most significant and the most prolific black film artist working today, with more than 150 films and videos to his credit. Everson’s style is immediately recognisable in its absence, or by its reduction of style. Call it an anti-aesthetic, prioritising minimalist gestures and the minutiae of everyday life. Most importantly, Everson regularly investigates the social and cultural conditions of Black Americans in the 21st century.





Gentle Strategies of Resistance / Róbert Szabó Benke

30. 05. - 23. 06. 2019.


Opening: Thursday, 30. 05. 2019. at 20:00

Duration: open from 30. 05. to 23. 06. 2019.

Curator: Branko Popović

Is love important in art as much as in life? It may not be, after all. But life is bigger than art. To Róbert Szabó Benke art is a means of making self-constructed identities, and love is a possible form of resistance. The politicalness of his art work lies in its gentleness.

Gentle Strategies of Resistance is an exhibition which for the first time presents the works of Róbert Szabó Benke to our audience. Róbert Szabó Benke, who comes from Novi Kneževac, chose Budapest as his base, and as the stage for his fringe artistic work in the early 90s. He uses photography as the main medium of expression and exploration, but he approaches it in a postmedia fashion, widening its range to encompass the media of performance, theatre, video, and installation. He treats photography in a decidedly pictural and theatrical manner, as a highly aestheticized work in its own right, but also as a photographic document of a para-artistic situation, and an act of self-transformation. The characters featured in the photos are almost universally (self)constructed, and the artist uses his friends, lovers or himself as models and plays with their real and the imaginary identities, changing their outfit or stripping them of it, placing them in common or theatricized environments. Photos directed in such ways often follow para-historical, para-mythological and futuristic narratives in which one can detect influences of oriental and popular cultures interwoven. The focal point of Róbert Szabó Benke’s work is the question of rising above the dominant narratives of one’s identity and finding personal and micro-collective strategies of resisting them. His artistic work is a form of struggle for the right of self-subjectification, which finds its foothold in the policy of friendship and in the subversive and emancipating potential of love.




Past Program