...In principle, the author divides her works into two categories: on the one hand, she creates ‘dramaturgy’ of experience in which a work of art falsifies the moment of experience and on the other hand, she creates ‘souvenirs’ (objects, products that announce an experience or talk about it). Within the contemporary art market where geopolitical particularities of artistic practices are still presented as desirable exoticism, the question about local, universal and their differences is pressing. It is not surprising that we are interested in artistic practices which deal with motivating uniqueness of space and authenticity of memory, history and identity as differentiation. The desired ‘other locality’ which ought to be motivated by a work of art finally serves the same mechanisms in this way, and these mechanisms characterize the external model with their marketing methods of creating desire and preserving phantasm, far away from realization. With her production, Jasmina Cibic investigates possible models of deviation from the global market strategy, its alienations and fragmentations. With her transitions to the past/future she uses artistic-historical/social phenomena for outlining a new reality and attempts to draw the spectator’s attention by means of highly aestheticized dramaturgy in a (political) struggle for recognizability.