Simon Pasieka is a German painter, born in 1967 in Cleve. After his studies at the HBK Braunschweig, he moved with a one-year scholarship DAAD in 1998 to Paris France, where he still live and work.

The Evil Painter is my semantic model, a network of concepts and their interrelationships exploring painting as the most democratic means of depicting social reality.

Farewell that goes from the emotional to the violent, ending in exhaustion. Men, women and children kiss goodbye and try to board on the busses that will take them into uncertain future of migrants.

My art is socially engaged. The time I live in I experience as a state of emergency in which I necessarily must use art to draw attention to problems and phenomena of contemporary society, or, simply put, I feel the need to fight using art.

For more than eighteen years, I have been living in different Western European countries. I am fascinated by the diverse cultural and social approaches that differ from my childhood experiences in Hungary under the socialist regime.

"Leafing through the newspapers is forbidden!" - a notice at a number of newsstands, one in a series of warnings that remind us that, if we cannot afford the package, we are not entitled to the content either.

Tanja Ostojic’s long-time project Misplaced Women? / Missplaced Women? deals primarily with gender sensitivity in the migration context, evokes and tests the discomfort during administrative and security checks that have become part of travellers’ everyday life.

With reference to the aspects of the powerful objectifying gaze, the performance/theatre installation is suggested by the architecture(alisation) of the (eye)sight, as well as by the "materialization" of the movie space, contextualized as a place of representation, happening and experience.

In the present day of the modern world existence, collective consciousness is radically and rapidly changing in step with the development of liberal capitalism consumer culture.

Under-realism is primarily about painting and figurativeness. It stands against the taste of today in contemporary art, which is characterized by polished, almost industrial looks.

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