Aleksandra Domanović, Canopy Collapse, 9 October 2025 – 15 February 2026
Spanning nearly 15 years of work, Alexandra Domanović’s first Scandinavian solo exhibition explores how the internet, gender and cultural memory shape who we are in a hyper-connected world.
Aleksandra Domanović (b. 1981, Novi Sad) works across an expansive practice focusing on the intersections of technology, history, and culture. With a playful yet critical approach, she explores how identity and social narratives are constructed in a mediated society.
In the exhibition Canopy Collapse, visitors to Kunsthal Charlottenborg can explore a major survey of Domanović’s conceptually driven and materially sensitive practice. Here, she transforms technological systems and cultural memory into artworks. Working across sculpture, video, photography, and digital media, Domanović explores technology through a gender-conscious lens, delving into themes such as the legacy of Yugoslav cybernetics and the cultural impact of digital networks.
With works ranging from monuments to living international celebrities to genetically modified bulls and news broadcasts from the post-Yugoslav states, as well as references to the unifying techno rave culture of the 1990s, Domanović creates a complex and often personal perspective on how technological changes shape both who we are and how we remember.
Aleksandra Domanović has had solo exhibitions at institutions worldwide, including Kunsthalle Wien (2024); Galleria d’Arte Moderna, Milan (2019); Museum of Contemporary Art Cleveland (2018); Bundeskunsthalle, Bonn and Henry Moore Institute, Leeds (both 2017); Museum Boijmans Van Beuningen, Rotterdam (2015); and Kunsthalle Basel (2012). Her work has been featured in numerous biennials and triennials, including the 34th Ljubljana Biennial of Graphic Arts, the 58th Belgrade Biennial, the Baltic Triennial 14 (all in 2021); the New Museum Triennial (2015); and the 12th Biennale de Lyon (2013).
The exhibition is initiated by Kunsthalle Wien, curated by Henriette Bretton-Meyer, and realised with generous support from the Augustinus Foundation, Beckett Foundation, Danish Arts Foundation, Knud Højgård Foundation, Obel Family Foundation and William Demant Foundation.
