During last week's lecture at The Frist, curator Jens Hoffmann spoke about his selection of artists for the 12th Istanbul Biennial — he modeled the entire exhibition, as well as its individual subsets, after the work of the great Felix Gonzalez-Torres. (If you're unfamiliar with Gonzalez-Torres' work, the two most important pieces to know about, in my mind, are "Untitled (Portrait of Ross in L.A.)" and the billboards of his empty bed.) Pavlovic, like Gonzalez-Torres, takes big issues and ideas and pares them down to the smallest visual idioms. Pavlovic's work, which deals with ideas of tourism, nostalgia and home, is just as intimate as Gonzalez-Torres' explorations of death and loss. And they both take issues of private versus public space to an entirely new level.
Anyway, I stopped by Vesna's studio at Vanderbilt last month when I was profiling her for the Scene's People Issue. She made me tea and cut up an apple for us to share, and we chatted about the new directions her art is taking. I can't wait to see how her latest pieces, which deal with the round plastic lenses you'll see in these photographs, take shape.