“It is absolutely impossible to prevent the eye from turning toward something that sparkles. Perhaps this reflex, turning toward brilliance, has somehow served as an extension of our species’ survival — the sun that provides light and life, its reflection in water signaling the end of thirst, moonlight at night as the only source of light in the darkness, and even the stars we looked to as guides, whether for navigation or spiritual-magical purposes. From the first artistic practices, like cave drawings, humanity has sought to capture that brilliance,” said Marković during the opening.

Marković also noted that after its great popularity in the 1960s, silver made a comeback in the 1990s.

“The techno music industry embraced this ‘space’ aesthetic, which perfectly aligned with technology. Still, glitter and metallics struggled to break through the thick barrier set by high culture. Even when they crossed over slightly, it was always modest and restrained. When they did dominate, it was usually thanks to some rebellious designer. High culture considered such brilliance to be in poor taste. As a result, glitter and metallics remained rulers of the margins.”

Marković emphasized that a new generation of artists is beginning to use glitter and silver more freely in their visual creations.

“Despite all these decades and centuries of history, social prejudices have not changed much, especially not in the Balkans — though they have softened somewhat. Glitter and silver have remained predominantly feminine markers.”

In conclusion, Marković expressed that her curatorial intention was to open a space for discussion about social prejudices, the concept of “feminine” art, and the question of whether glitter belongs in high/museum art.

The exhibition is a collaborative project between the Museum of Contemporary Art of Montenegro (MCAM) and RTCG. It will be open to the public until March 4, 2025.