“On the one hand, you can identify with them. You can see the hand of a human being. But, on the other hand, the time frame is so huge that you can’t really comprehend it.”

Barbara Knežević’s practice explores the meaning and purpose of objects. When she learned of the Lepenski Vir archaeological discovery on the banks of the River Danube in the former Yugoslavia, now Serbia, and the curious monumental sculptures, half humanoid and half fish, created there 10,000 years ago, connections between ideas of nationhood and displacement, as well as her quest to discover the drive behind material creation, gave rise to the production of her first film, Gvozdene Kapije (The Iron Gates), and a set of related sculptures.