In my recent video work, The Cabbage (2016), a well-dressed man of my generation juggles cabbages in the parking lot of a well-known supermarket chain. The supermarket and its surrounding architecture belong to the past decade, an era marked by state-sanctioned corruption that impoverished Serbian citizens under the guise of nationalism, and in accordance with the values of neoliberal democracy. At a key point, the actor’s body is deliberately truncated, drawing the viewer’s attention to the background: an enormous -50% discount sign and massive commercial logos. Specifically, the painted logos refer to Maxi, the supermarket chain that was established by a local 1990’s war profiteer, and the Lion, a logo of the Belgian company Delhaize that later bought Maxi in 2011. The aim is to emphasize the socio-economic history of this site and to show the normalized everyday juxtapositions of an unresolved past and an uncertain present.

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