David Maljković
In the Pictorial Code
Quetzal Art Center, Portugal
Through August 31, 2023

Quetzal Art Center proudly presents a solo exhibition by David Maljković titled In the Pictorial Code. At the core of Maljković’s practice is a regimented exploration of formalist concerns. Whilst narrative is the driving element at the origin of a project, the artist’s varied means of visual implementation consistently and profoundly modifies and compromises its supremacy, whether that is through photography, video, sculpture, installation, collage or painting. In the Pictorial Code presents recent works that play with the idea of painting as a guardian of time and the painter’s position as its witness. The exhibition establishes a marking system that embodies the image’s position within the author’s practice, and also tracks its displacement into other media.

David Maljkovic
April 10–May 9, 2015
London

David Maljkovic is known for multifaceted exhibitions that investigate the erosion of memory and the corruption of information, revealing how ideas can be worn down by the effects of time and technology. For his second show at Sprüth Magers, London, Maljkovic will present a group of inkjet photo collages titled New Reproduction (2013), as well as Afterform (2013), a single slide projection, and a new version of the HD video Out of Projection (2009-2014), a title that the artist has used for a number of previous, related works. The formal principle of collage is key to Maljkovic’s oeuvre: the artist has adopted this method as a way to respond to our defective memories, recombining photographs, films and projected images from his own personal archive. 

David Maljkovic
A Long Day for the Form
June 28–August 25, 2012
Berlin

A Long Day for the Form showcases David Maljković’s current body of work, in which he gives his own artistic practise a radical restaging, an approach recently explored in shows at Kunsthalle, Basel, Sculpture Centre, New York and Seccession, Vienna. Objects developed as presentation structures for other contexts and contents have been cleared out, emptied and arranged in the gallery as isolated sculptural objects and architectural structures, while small interventions by the artist such as sound and light serve to recall the presence of missing works. By concentrating on these various forms of display, Maljković focuses attention on his own artistic strategies and experiences as well as addressing the act of exhibiting itself.

David Maljkovic
Recalling Frames
November 5–December 23, 2010
London

The title of David Maljkovic’s solo exhibition can be understood in relation to his current body of work but also indicates a recurring theme in his artistic practice: recalling ideas from the past and analysing their impact on the present. He introduces places, their architectural structures and their underlying concepts in modified pictorial arrangements as a means of determining their current potential. Maljkovic creates these reconstructions by applying the technique of collage to the media of photography and film: by crossfading between different time levels, he also gives them a fictional dimension that transforms them into sites for an alternative future.

Rethinking Location
Rosa Barba, Cyprien Gaillard, Andreas Hofer, David Maljkovic, Trevor Paglen, Christodoulos Panayiotou, Sterling Ruby, Paul Sietsema, Taryn Simon, Armando Andrade Tudela, Andro Wekua
May 1–June 21, 2010
Berlin

Evolving from the work of twelve conceptual artists, filmmakers and photographers presenting alternate interpretations of fictional geographies, imaginary sites and "mash-up" destinations, the exhibition Rethinking Location reconsiders the notion of location. In an era characterized by a rapidly changing perception of time and space due to ever increasing mobility, migration and globalization, our understanding of what a location is has significantly transformed.

David Maljkovic
November 20, 2009–January 16, 2010
Berlin

The artist’s practice engages with the heritage of modern utopias, both in its theoretical and practical manifestations. His films, drawings, sculptures and installations often evolve around the potential of monuments and pavilions built during a period of optimism in former Yugoslavia in the 1960s and 1970s that have now been neglected or forgotten. Maljkovic resuscitates such former memorials by turning them into sites for alternative activities, often carried out by members of his own generation. Evolving around two films and a series of collages the exhibition focuses on two architectural installations, confronting the viewer with a seemingly forgotten or invisible ‘heritage’- one that is not presently perceived as valuable or legitimate.