Aleksandra Domanović’s artistic, career is the result of a personal, extensive and multi-faceted investigation into different phenomena of contemporary society. At the intersection of science and history, technology and the human dimension, popular culture and national identity, past and future, the artist expresses herself through a wide range of media: from photography to video, with a particular fondness for sculpture. Domanović investigates codes and principles of this language, without fear of going beyond its boundaries and modifying its genes in search of a redefinition that is not only formal but more widely aesthetic and conceptual. The series of public posters presented at the 58th October Salon represents the continuation of the artist’s research addressing the phenomena of vision and perception, and the political, ideological and sexual energies associated with them. Domanović starts from exploring the film Portrait of a Lady on Fire (2020), by the French director Céline Sciamma, which focuses on the theme of the female gaze and the social, relational and power-related contexts that proscribe it, and which it can break free from. Moving from the plot of the film to the battles associated with the expressions of #metoo embodied in France by the actress-muse of the film Adèle Haenel, Domanović reproduces the title of the film on a series of posters scattered around the city of Belgrade, using an optical effect which, by simultaneously contrasting lines of different colors, questions the uniqueness and steadiness of vision. The translation of the title into the different languages spoken in Serbia (Serbian and eleven recognized minority languages) adds a further layering of complexity to the project which insists on the relentless quest for one’s own identity, for a placement and a view of the world and oneself that does not accept being confined into clear and defined boundaries.