After a detailed review of fourteen applications submitted by authors and author teams in response to the Public Call for Montenegro’s representation at the 61^st Venice Biennale of Art in 2026, the jury composed of Odile Decq, architect (France);  Hélène Audiffren, Director of the Carré d’Art Museum of Contemporary Art in Nîmes (France); prof. Miroslav Balka, visual artist (Poland); Gunnar B. Kvaran, curator (Iceland); and Ana Ivanović, art historian and curator (Montenegro), conducted a two-stage evaluation process: first selecting a shortlist of six candidates, followed by an equal time interviews with each candidate.

The jury fully appreciated the diversity, the quality and the creativity of the proposals.

In accordance with the criteria defined in the Public Call, the evaluation focused on artistic quality and innovation, the clarity and consistency of the concept, the communicative potential of the project, technical feasibility, and the rationality of realization. Special attention was given to the alignment of the proposals with the conceptual framework of the exhibition In Minor Keys, as envisioned by curator Koyo Kouoh.

Based on these criteria and the evaluation process, the jury decided that Montenegro will be represented at the 61^st Venice Biennale of Art in 2026 by the project of artist Siniša Radulović, in collaboration with curator Svetlana Racanović, entitled Out of the Blue, I ‘m Swept Away (Bijah ponesen, iznenada).

The selected project stands out for its clearly articulated concept, strong visual and conceptual communicativeness, as well as a high level of professional execution and feasibility.

The project Out of the Blue, I’m Swept Away is a multimedia spatial installation that brings together sculpture, video, and sound in a powerful exploration of personal and collective experience, social dynamics, and realms of imagination.

The installation unfolds through three interwoven elements: a floor construction based on the artist’s own living space, large-scale video projections, and an enveloping soundscape. What begins as a personal reflection, the transformation of the artist’s family home into a complex modular structure, inhabited by miniature figures, gradually expands into a meditation on the collective. Moving outward from the center, the figures multiply, shifting the focus from family to society at large, from the personal sphere to questions of coexistence and belonging.

The video projections, cast across the walls, offer fleeting glimpses of human gestures like touch, movement, warmth, that open a counterpoint to the floor installation. These images, monumental in scale yet disarmingly intimate, evoke tenderness and connection while reminding us of the fleeting nature of every moment. The soundscape, composed of wind, and oceanic depths, surrounds the audience with an atmosphere that is both immersive and introspective.

Out of the Blue, I ‘m Swept  Away invites visitors to navigate spaces where the provat intersects with the public and bsence opens onto possibility. Engaging all the senses, the work shapes a space for reflection and transformation, inviting the audince to take part in a layered meditation of presence, vulnerability, and the imagining of new beginnings at the fragile edges of our shared existence.