David Maljkovic — AAASSEMBLAGE During the last thirteen years Maljković questions repeatedly the status of the studio, creating a different visual dialog with it. using the studio as raw material for the creation of new relations, peeling the content and recycling the form, the methodology of image-building becomes more important than the content, rejecting the notion of a motif as a completed issue. These experiences are being transposed into the gallery and the studio becomes an assemblage of torn-off images. This matrix creates a new whole, continuing to dissolve the very idea of a studio. We can perceive this very fragmented quality as a metaphysical version of the artist’s everyday space. David Maljkovic’s lms, collages, sculpture, and installations address the historical, cultural, and ideological heritage of modernist projects in Croatia. In a 2010 exhibition, “Recalling frames,” Maljkovic’s photomontages combined still images from Orson Welles’ lm The Trial, a haunting damnation of inhuman bureaucracy shot in Zagreb in 1962, with the artist’s own contemporary photographs of the lming locations. Maljkovic meticulously photographed Zagreb’s cold war-era modernist buildings from the same extreme angles used in the lm. Splicing together black-and-white negatives, the works form a sort of compression of decades of political and urban change.