Access to information does not necessarily yield knowledge. On the contrary, the pervasiveness of archives and data in the modern era highlights society’s stubborn resistance to reason – a condition that calls to question the tools with which information is structured and disseminated. While many of Aleksandra Domanović’s projects give shape to the relationships of meaning deriving from existing archival models, others propose alternative models based on the artist’s personal experiences of shared memories and feelings of community. In her work Domanović uses elements related to her own past (references to TV programmes, music and the monumental art of Yugoslavia) as well as cultural artefacts which purport to transcend personal or national specificities, such as stock photography and international contemporary art (see for instance Vvork, a blog she co-edits). The differences between these various categories of sources form the central concern of Domanović’s work, which focuses on the individual’s subjectivity and how it is subsumed, erased and distorted by attempts to attain universality. (Brian Droitcour)