Design Art Papers 2025 | No. 13

beliefs and behaviors of Balkan peoples, influenced by Orthodox Christianity and its historical assimilation with earlier polytheistic beliefs. In Serbia, these practices are most commonly associated with the Vlach (Wallachian) minority, a people who speak Eastern Romance languages. It is widely accepted that the custom originated in Romania and Moldova, making this an example of shared heritage, one that has been extensively studied in fields such as ethnology, history, and cultural anthropology. This tradition is not widespread across Serbia and remains largely unknown to the broader public beyond the communities in which it continues to survive. Younger generations are often unaware of its existence, while those who are familiar with it typically assume it has long since ceased. The associated rites are complex and have evolved over time: originally involving burial within the home itself, then shifting to symbolic sacrifice under the doorway, and finally settling into the form of backyard interment [32] . Scholars have offered numerous hypotheses about the origins of this custom, but no definitive explanation exists. A notable contemporary adaptation is the relocation of the burial plot from the yard to a nearby area, often just across a path or further down the road. These graves frequently feature fences and concrete perimeters, resembling purposefully built domestic enclosures for the deceased. It is important to underscore that this custom is illegal under the Serbian law, and in most of the examples I have photographed, a public cemetery was within walking distance. This project reflects thementality of my cultural environment, depicting amindset that clings to traditionalism, yet selectively honors its obligations and customs in ways that accommodate personal convenience. The current phase of the project functions as a documentary, imbuedwith an atmosphere of tenderness and empathy (see image 2). There is an aspiration to eventually transform the work into an installation that will visually articulate themapping of this tradition,meaning its longevity, transformation, andongoing adaptation. The subject matter of this project is especially layeredand sensitive, and its full scope cannot beadequately conveyed through this paper. Thethirdproject Iwill present is Yugo–Omnipresence (2018), a photo-documentary series through which, by employing thebasic functionof thecamera, I collect tracesandevidence of Yugoslavia which became a defunct national identity tied toa country that no longer existed, yet onewhichhas not yet been confined to the past. The project gathers both practical (e.g., iron, cord telephone etc.) and emotional (e.g., vinyl records, documents etc.) symbols of this nationality which, despite its nonexistence, remains significantly present in everyday life (see image 3). Many of the practical objects continue to be actively used and are often accompanied by nostalgic comments such as, back when things were built to last , or we had an industry, but we destroyed it . It is important to note that the work references the Socialist Federal Republic of Yugoslavia (as in Marina Abramović’s work), not the Kingdomof Yugoslavia. As in many of my earlier projects, a frontal camera angle is used intentionally so that the visual focus remains entirely on the object itself. In this series, a single photograph is not a word, but rather a unit of measurement for the semiotics of cultural heritage and undying identity. This approach highlights how the quantity of gathered visual evidence becomes meaningful itself, translating into a qualitative statement. All photographed collectibles thus far were discovered inside apartments within the residential building I live in. This project remains ongoing, similarly to the theme it addresses, as it requires extensive time and resources that can be found across the former Yugoslav territories. The series includes the word omnipresence in its title because these symbols and their meanings are omnipresent and represent, for my generation, a freshly historical yet unreachable utopia. One personal anecdote may serve to illustrate this layered presence: Yugoslavia dissolved in 1992; I was born the following year, and without ever relocating I have lived in three different countries. My grandmother was born in theKingdomof Yugoslaviabut spent nearlyher entire life in the SFRY. My mother lived more than half of her life in that same Yugoslavia, while I, though born in its final days, have virtually no connection to it. Geopolitical phenomena illustrated through this project demonstrate how political change shapes intergenerational gaps. It also demonstrates how deeply the ideal of national identity can be embedded within a people and the individuals who comprise it. Conclusion Lookingat thetimeframe inwhichintangibleculturalheritage was acknowledged and defined, and at the time frame of artistic production for the examples above, it is obvious that in the last fifty years intangible heritage was a strong driver for the production of contemporary art. Relationships between intangible heritage, identity, and the process of artistic creation are theoretically established, where art represents anend result for thearticulationof emotions that forma person’s identity. Through artistic application, such as in the examples explored by Ai Weiwei, Marina Abramović, and myself, heritage is revitalized, questioned, transformed and the currents of its influence are altered. In my own practice as an artist, cultural heritage is an inexhaustible source of inspiration and creativity, and a strong driving force for analysis and critical thinking. NOTE / END NOTES [1] ***, UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage , November 1972, Art. 1–2, 16, p. 1. [2] Ibid , p. 3 [3] ***, Convention for the Safeguarding of the Intangible Cultural Heritage. Basic Texts , 2024 edition, Paris, United Nations Educational, Scientific and Cultural Organization, 2024, sec. 6, p. 144. [4] ***, Framework Convention on the Value of Cultural Heritage for Society , Council of Europe Treaty Series, No. 199, October 27, 2005, Art. 2(a), p. 2 [5] Ibid , p. 1. [6] Saša Srećković, „Identitet u kontekstu razumevanja kulturnog nasleđa”, in Glasnik Etnografskog muzeja u Beogradu , No. 76, 2012, p. 176. [7] Brian Graham și Peter Howard, The Ashgate Research Companion to Heritage and Identity , Ashgate, Aldershot, 2008, p. 2. [8] Saša Srećković, „Identitet u kontekstu razumevanja kulturnog nasleđa”, in Glasnik Etnografskog muzeja u Beogradu , No. 76, 2012, p. 67, apud Helaine Silverman and D. Fairchild Ruggles, “From Tangible to Intangible Heritage”, in Intangible Heritage Embodied , ed. D. Fairchild Ruggles and Helaine Silverman, Springer, New York, 2009, pp. 1-14. [9] Biwako Biennale, International Contemporary Art Exhibition held in Omihachiman, Shiga Prefecture, Japan, organized by the NPO Art InterMix, established in 2001. [10] Oku-Noto Triennale, Contemporary Art Festival held every three years in Suzu, Ishikawa Prefecture, Japan, organized by the Oku-Noto Triennale Executive Committee, founded in 2017. [11] Kochi-Muziris Biennale, International Contemporary Art Biennale held in Kochi, Kerala, India, organized by the Kochi Biennale Foundation, established in 2010. [12] H. J. M. Hermans, „The Dialogical Self: Toward a Theory of Personal and Cultural Positioning,” in Culture & Psychology , Vol. 7, No. 3, 2001, p. 243 [13] Ibid , p. 243. [14] Gilbert King, „The Silence that Preceded China’s Great Leap into Famine,” in Smithsonian Magazine , September 26, 2012. [15] Ibid [16] Ai Weiwei, Dropping a Han Dynasty Urn , 1995, first exhibited in Chinese Art in the 1990s, China Art Archives and Warehouse, Beijing, 1995. [17] ***, „Confucianism,” encyclopedia.com, May 23, 2018, last accessed on August 15, 2025, at URL: https://www.encyclopedia.com/philosophy-and-religion/eastern-religions/bud dhism/confucianism. [18] ***, „Modern and Contemporary Asian Art Evening Sale, Lot 1067”, sothebys.com , n.d., last accessed on August 15, 2025, at URL: https://www.sothebys.com/en/auctions/ecata logue/2016/modern-contemporary-asian-art-evening-sale-hk0654/lot.1067.html. [19] Ai Weiwei, Descending Light , 2017, exhibited in Good Fences Make Good Neighbors, Public Art Fund, New York City, 2017. [20] ***, „Why Is the Color Red Important in Chinese Culture? Explained,” sohoinchina.com, n.d., last accessed on August 12, 2025, at URL: https://www.sohoinchina.com/ why-is-the-color-red-important-in-chinese-culture/. [21] ***, „The Raft of the Medusa,” britannica.com, last accessed on August 12, 2025, at URL: https://www.britannica.com/topic/The-Raft-of-the-Medusa. [22] Katherine Verdery, What Was Socialism, and What Comes Next? , Princeton University Press, Princeton, 1996, p. 63. [23] Ibid. [24] On May 25th, which was the birthday of Socialist Yugoslavia’s leader Josip Broz Tito, Youth Day was celebrated around the nation starting one week earlier with the Youth Relay race that went through all major cities of Yugoslavia before ending in Belgrade where the baton, containing the birthday wishes, was ceremonially given to Tito at the JNA stadium. This event preceded the Slet, that was a form of mass entertaining musical event that represented ideals of youth, strength, physical and spiritual culture alongside unity. [25] ***, „Marina Abramović, Rhythm 5,” sothebys.com , last accessed on August 16, 2025, at URL: https://www.sothebys.com/en/auctions/ecatalogue/2018/contemporary-photo graphs-n09918/lot.66.html. [26] Sean O’Hagan, „Interview with Marina Abramović,” in The Guardian , October 3, 2010, last accessed on August 15, 2025, at URL: https://www.theguardian.com/artanddesign /2010/oct/03/interview-marina-abramovic-performance-artist. [27] Marina Abramović, Rhythm 5 , performed at the Student Cultural Center (SKC), Belgrade, Yugoslavia, 1974. [28] Socialist Federal Republic of Yugoslavia (SFRY) existed from 1943 to 1992, meanwhile having other names like Federal People’s Republic of Yugoslavia or Socialist Yugoslavia or just Yugoslavia. Not to be mistaken with the Kingdom of Yugoslavia (1929-1941). [29] Marina Abramović, “Rhythm 5. 1973-74/2010”, in Audio: Marina Abramović on Rhythm 5 , The Museum of Modern Art, last accessed on July 15, 2025, at URL: https://www. moma.org/audio/playlist/243/3116. [30] Katarina Radović, “When You’ve Stopped Combing Me, I’ll Stop Hating You,” last accessed on July 17, 2025, at URL: https://katarinaradovic.jimdofree.com/photo-projects/when- you-ve-stopped-combing-me-i-ll-stop-hating-you/. [31] François Soulages, Estetika fotografije: gubitak i ostatak , trans. Aleksandra Mančić, Clio, Belgrade, 2008. [32] Veselin Čajkanović, Mit i religija u Srba , ed. Vojislav Đurić, Srpska književna zadruga, Belgrade, 1973, pp. 154–156, 162, last accessed on July 17, 2025, at URL: https://ivoandric.no/biblioteka/ Istorija/Veselin%20Cajkanovic%20-%20Mit%20i%20religija%20kod%20Srba.pdf. 347 346 / / / / Caiete de Arte și Design / nr. 13 / 2025 / / / / Publicație a Centrului de Cercetare și Creație în Artele Decorative și Design / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /