We Don’t Know What It Is, But It Is Certainly Not What You Think It Is
sculpture, metal, calico linen
420 x 320 x 400 cm

We don’t know what this is but certainly it is not what you think it is by Ana Krstić may be regarded as a soft sculpture. It is soft not only because it is made of canvas strips that can be rearranged and reinstalled in different shapes; it is soft also in its ability to blend into a space and to adapt to its conditions, its smells, its colours and its stories. Yet this softness is interfering, it is on the way, and it cannot be grasped “at one go” and comprehended in any sense of wholeness from any fixed viewpoint. Partly a reference to “vorlehre” exercises with paper and scissors at Bauhaus, partly a reference to 1960s minimalism, this piece as crammed in an abandoned mouldy office is not what you think it is, and it is not what you expect it should be. – Branislav Dimitrijević, from the catalogue of the 53rd October salon, page 56.

The work was produced and exhibited at the 53rd October Salon: Good Life, 2012

© Cultural Centre of Belgrade, October Salon Collection and the artist
Purchase Contract: III-5-454/1/10.12.2014.
Inventory No. 1381
Photo: installation view 53rd October Salon, Ana Kostić

Selected Bibliography:
53rd October Salon, Good Life: Physical Narratives and Spatial Imaginations. Cultural Centre of Belgrade, 2012
Art + Media, Journal of Art and Media Studies, No 7, April 2015, Art and Politics: Agency, Autonomy, Emancipation – Artist Portfolio, Singidunum University, Belgrade, 2015, 78–81.
Vesna Milosavljević, “Možemo li sada stati?” (talk with the artist), SEEcult.org, Belgrade, July 22, 2012, http://www.seecult.org/vest/mozemo-li-sada-stati, accessed on March 27, 2020
Guided tour of the exhibition We Can’t Stop Now, SEEcult.org, 2012, https://www.youtube.com/watch?v=j3-tWdeD0Fk, accessed on March 27, 2020


Ana Krstić (1978, Valjevo, Serbia) is a visual artist working in diverse media (sculpture, installation, video) and cultural worker working within different institutional and non-institutional contexts. In her practice since 2010 she specializes in site-specific and participatory projects with focus on memorial culture and appropriation of public space. She approaches these topics from a clear feminist perspective. From 2010 to 2014 she worked as a program manager in a cultural center in her hometown Mionica. Since 2014 she is based in Berlin. More information at https://anakrstic.wordpress.com and @anna.krstiic