[Naziv izložbe] / [Exhibition Name]
Center Terra Galery KikindaYear: 2026
Safety As a Fleeting Escape
Life between MEGA possibilities and the MEGA pressure to choose the “right” one can easily bring us to a point of stagnation. Contemporary individuals today carry multiple identities, multiple expectations, and multiple possible versions of themselves, often seeking safety in things that may not truly save them, but only temporarily soothe them.
Following this idea, Sonja Lundin and Dragana Lukić use this exhibition to open the question: in what ways do we make decisions when we are under stress, vulnerable, or pressured by society? Their installations of printed textile sculptures and an artist’s book shape a space in which personal experience becomes a shared language. Each vest, as well as the words in the book, represents an intimate record of an inner world through fragments of thoughts, emotions, and memories that build an unfiltered narrative about the contemporary experience of insecurity.
The vests here do not truly save us, but symbolically. They become a metaphor for the emotional calm we seek today through everyday mechanisms of escape: doomscrolling, binge-watching, constant planning without action, self-help content without real change, toxic productivity that leads to burnout, online validation, or aesthetically arranging life for social media. All of this gives us the apparent feeling: “I am doing something. I am controlling my life.”
And often, what we call safety is only SAFE — Safety As a Fleeting Escape.
In her novel The Bell Jar, Sylvia Plath uses the metaphor of the fig tree to portray the overwhelming nature of life’s possibilities, which leads to decision paralysis. We recognize that same feeling today in the artists Sonja Lundin and Dragana Lukić, who, through this exhibition, share a similar psychological and generational space. At the same stage of life, between their late twenties and early thirties, an excessive number of choices and the pressure to “choose the right path” become a shared experience of anxiety, but also a space of encounter and empowerment.
This is why Sylvia’s fig tree does not appear here as a quotation from the past, but as a mirror of the present. The choices have multiplied, the contexts are more contemporary, yet the feeling that every decision carries the loss of all other possibilities remains the same.
The outcome of this exhibition lies in the value of working together: when two perspectives on the world unite, responsibility is shared, and insecurity becomes lighter through dialogue.
If our vests are only temporary, what creates a true form of safety today?
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Verica Nemet
Art historian
May 12, 2026
[Naziv izložbe] / [Exhibition Name]
Center Terra Galery Kikinda2026
Samo Privremena Aluzija Sigurnosti
Život između MEGA mogućnosti i MEGA pritiska da se izabere „ispravno“ lako nas dovodi do tačke stagnacije. Savremen čovek danas istovremeno nosi više identiteta, više očekivanja i više mogućih verzija sebe, često tražeći sigurnost u pojavama koje ga možda ne spašavaju, već samo
trenutno umiruju.
Na tom tragu Sonja Lundin i Dragana Lukić ovom izložbom otvaraju pitanje: na koje načine donosimo odluke kada smo pod stresom, ranjivi ili pod pritiskom društva? Njihove instalacije štampanih tekstilnih skulptura i umetnička knjiga oblikuju prostor u kojem lično iskustvo postaje
zajednički jezik. Svaki prsluk, kao i reči u knjizi, predstavlja intimni zapis unutrašnjeg sveta kroz fragmente misli, emocija i sećanja koji grade nefiltriran narativ o savremenom iskustvu nesigurnosti.
Prsluci nas ovde ne spašavaju stvarno, već simbolično. Oni postaju metafora emocionalnog smiraja koji danas pronalazimo u svakodnevnim mehanizmima bekstva: doomscrollingu, binge
watchingu, stalnom planiranju bez akcije, self-help sadržaju bez stvarne promene, toksičnoj produktivnosti koja vodi u burnout, online validaciji ili estetskom sređivanju života za društvene mreže. Sve to daje prividan osećaj: „Radim nešto. Kontrolišem život.“
A često je to samo Samo Privremena Aluzija Sigurnosti — SPAS.
Silvija Plat u romanu The Bell Jar kroz metaforu smokvinog drveta prikazuje preplavljenost životnim mogućnostima koja vodi u paralizu odlučivanja. Taj isti osećaj danas prepoznajemo i kod
umetnica Sonje Lundin i Dragane Lukić, koje u okviru ove izložbe dele sličan psihološki i generacijski prostor. U istoj životnoj dobi, između kasnih dvadesetih i ranih tridesetih, prevelik broj izbora i pritisak da se „izabere pravi put“ postaju zajedničko iskustvo anksioznosti, ali i prostor
susreta i osnaživanja.
Zato se Silvijino smokvino drvo ovde ne pojavljuje kao citat iz prošlosti, već kao ogledalo sadašnjosti. Izbori su umnoženi, konteksti su savremeniji, ali osećaj da svaka odluka nosi gubitak svih drugih ostaje isti.
Ishod ove izložbe je vrednost rada u zajedništvu: kada se dva pogleda na svet ujedine, odgovornost se deli, a nesigurnost postaje lakša u dijalogu.
Ako su naši prsluci samo privremeni, šta onda danas stvara istinski oblik sigurnosti?
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Verica Nemet
istoričarka umetnosti
12.maj 2026
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