Serbia

Moved by local creative and scientific legacies, the exhibition builds on the delicate artistic skill of knitting—a form-creating practice driven by tactile engagement. Unknitting is juxtaposed with the groundbreaking invention of the “Belgrade Hand” (1963), the world's first artificial-bionic hand. This juxtaposition highlights the capacity for local input to global technological advancement, emphasising the interplay of creativity, materiality, and empathy.
The idea of the architectural form unfolds as a kinetic structure. At the heart of the project is the dynamism of the hand, portrayed as an extension of the thoughtful mind that emphasises the role of (uniquely human) manual immediacy in learning and experimentation. It contrasts the intuitive, movement-driven learning of natural intelligence with the data-driven, algorithmic processes of artificial intelligence. The structure of wool threads is interdisciplinarily knitted before the opening and gradually unravelled over the six-month duration of the Biennale.