In arches 51 and 52 Bojan Sarcevic (* 1974) is presenting new sculptural works, entitled Replace the irreplaceable, which play with objectness’ contradictory possibilities. Whilst Replace the irreplaceable (2006), which is also the title of the large sculpture in arch 52, stands heavily in the room, the structures in arch 51 are at the outer limits of extreme fragility, awakening an impression of a light, almost floating presence.

Running through all the works on display is a reflection on the language of modernism, which Sarcevic reconfigures, but does not, however, reproduce or employ as a mere citation. His sculptures are much more self-referential structures; as formal repetitions these allow European utopia to re-emerge, revealing these anew in the re-staging. The repetitive (appropriation) process generates alienation, turning the sculptures into repositories of time. The course of modernism, from Russian Constructivism impregnated with social criticism to post-war economic miracles, settles like sediment in the sculptures, but that is not the whole story: Sarcevic’s constructions, which only vaguely formulate references