The central piece of this exhibition and the entire project dedicated to the psychological concept of the «inner child» is the ambient work The Gift to Inner Child. The image of the carpet originates from a well-known tradition preserved in the post-Soviet space—hanging carpets on walls as a sign of relative wealth amid pervasive poverty, and as a marker of belonging to a higher social class than one actually occupies. This seemingly odd element of Soviet culture has, for younger generations, become a sequence of childhood memories, part of the endless bedtime fantasies capable of discerning the figures of animals and magical creatures within the carpet’s ornamentation.
The multimedia work The Gift to Inner Child features an animation of drawings in which the artist depicts the images she used to notice in these ornaments during her childhood, alongside discarded, broken, predominantly Yugoslav-era toys found at the Belgrade flea market. Elements of memory from two different cultures are unified through the artist’s own voice, singing a lullaby, thus creating a transcultural symbol and marking a universally recognized motif.
Anastasia develops the idea of a «second childhood» in the series Second Childhood and Timeless-Timelessness. The assemblage objects include found items «framed» in pieces of old, dry wood, reminiscent of the sacred secrets of a child’s universe—carefully chosen, preserved, and later forgotten sentimental stories. Bridging the temporal gap between childhood and adulthood and ultimately uniting the «inner child» and the «inner adult» led to the creation of one of Anastasia’s latest projects, Call Your Childhood. Combining IT technology with the nearly forgotten form of an old landline telephone, Anastasia creates an interactive installation inviting the viewer to dial their home phone number or any other number they remember from childhood. Who will answer? Perhaps the best period of your life. The sound of carefree existence.
The aim of this exhibition is to create, through childhood memories presented in Anastasia’s works, a phantom space of a child’s room or a room of childhood memories—something universally familiar, yet deeply personal. A space where childhood memories do not turn into painful longing for a lost sense of permanence and security, but instead become a source of strength and confidence, found within rather than outside oneself. Since childhood is often considered a period of vulnerability and fragility, Anastasia Saut’s project offers an opportunity for longing—for past times, for lost people, for home itself—to become a supportive force, creating an alternative universe in which perhaps none of us have ever actually left that home.
Veronika Podriadova
Art historian, curator, employee of the Museum
of Contemporary Art in Belgrade