FRAGMENTATION
MUSEUM
The Fragmentation Museum, the first and only one of its kind worldwide, is dedicated to the selection, collection, preservation, and protection of fragments of reality within the field of contemporary art. It explores current phenomena of fragmentation, focusing on the study of the fragment form as an independent, sustainable unit, distinct from the entirety of the artwork. The museum possesses a vast and ever-growing collection of fragments, carefully selecting new ones for exhibitions and research projects. The Fragmentation Museum’s spaces are also fragmented, dispersed across numerous sites worldwide.
Milan Atanaskovic
The Fragmentation Museum, the first and only one of its kind worldwide, is dedicated to the selection, collection, preservation, and protection of fragments of reality within the field of contemporary art. It explores current phenomena of fragmentation, focusing on the study of the fragment form as an independent, sustainable unit, distinct from the entirety of the artwork. The museum possesses a vast and ever-growing collection of fragments, carefully selecting new ones for exhibitions and research projects. The Fragmentation Museum’s spaces are also fragmented, dispersed across numerous sites worldwide.
The exhibition
“THE ARTWORK AS A SUSTAINABLE FRAGMENT OF THE PRESENT”
Musée de la Fragmentation 2025
In our expanding information cosmos, a new essential phenomenon is increasingly multiplying: an experience often encapsulated in a visual message accompanied by text, transmitted through the vast and boundless space of the internet as a global collector. The control algorithm performs an almost flawless selection of information, and only a small percentage of billions of fragments reaches the ocean’s shore, only to immediately remerge into the flow of the global collector and inevitable recycling in the next sequence. Our perception of reality is thus multiplied into an infinite number of realities projected onto our own plane—the flow of life, inevitably fragmented, erased by forgetting and the constant rewriting of the present, transforming it into a nonexistent past and future. There is no way to halt this flow of events and experiences or to grasp it in its entirety; there exists only an environment in a state of perpetual fragmentation. We can attempt to extract it, sample it through a cut and conservation process based on available technical capabilities.
The entity we have chosen to preserve in the Museum of Fragmentation is such a sample, a point of encounter and intersection between artwork and everyday life, a moment preserved regardless of its time, place, or origin.
In contemporary art, this means that the fragment brings an essential element back to the center of attention: the experience an artwork generates, irrespective of its age or form, bearing in mind the old truth that the same experience cannot be lived twice.
The Fragment is a cut, a symptom of contemporary art on the body of daily life. It has no limitation in place, time, space, dimension, technique, discipline, or form of expression. The fragment is an essential sample, a spark of an event, a moment of change, or its unfolding. The fragment is a work conveying an experience. It can remain open, unfinished, without a specific function. Any further verbal description would destroy the non-verbal essence of the image it represents. Not all works of art are fragments, just as not all fragments are artworks in contemporary art. A large number of fragments are irretrievably destroyed, forgotten, or overlooked, beneath or beyond the radar of attention. However, the invisibility, instability, or tendency of certain fragments to disappear, fall, or be erased does not diminish their value. By creating the Museum of Fragmentation, we establish a mechanism capable of recognizing, selecting, and preserving certain fragments and their memory. The fragment is an entity in itself. It may or may not be linked to its creator’s biography; the author sometimes remains anonymous, and the fragment functions independently in its interaction with the environment. It is a kind of non-verbal sentence that may sometimes include a verbal message. The fragment is an environment of experience, a document of ambiance
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Aleksandra Šaranović, ANTIBODIES
Throughout human history, the notion of the body has undergone continuous transformation, reflecting shifting philosophical, religious, and scientific perspectives. From the idea of the physical body as inferior and perishable, a temporary vessel for the immortal soul, through the divine proportions of Vitruvian Man, and later the scientific models of the body as an organic…
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Fragmentation Museum, Gallery 0=2, Milan Atanaskovic, Beograd 2025
With this installation by Milan Atanasković, the Museum of Fragmentation opens its second gallery, 0=2. Set within the post-apocalyptic architecture of the socialist Yugoslav-era shopping center Merkator in New Belgrade, this exhibition-installation presents a condensed resonance of fundamental in-situ fragmentation.
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Vincent, Surface 2010/2025 Fragmentation Museum
There is an object, in the darkness, in the basement of an old house called Bloc-House: a rotting wooden crate filled with books, papers, newspapers — left behind for a century, like a mass of words, sentences, meanings slowly merging in a hundred-year process of dissolution. No one can, or wants to, or even could,…
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Jérôme Bouchez, Paris is Burning 2009-2025 / Fragmentation Museum
Jérôme Bouchez’s contribution to the Museum of Fragmentation is a kind of map of fragments, traces, documents, images, and sketches of works spanning over 15 years, condensed into an installation within a space usually reserved for solitude. This space is transformed into a temple of fleeting flashes of everyday life, of horror and pleasure, politics…
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Fragmentation Museum, Gallery 0=1, Milan Atanaskovic, Paris 2025
The Fragmentation Museum opens its doors with the exhibition “THE ARTWORK AS A SUSTAINABLE FRAGMENT OF THE PRESENT”, inaugurating its first space, Gallery 0=1, in Paris, 2025. Fragmented, fractured, and inherently unstable itself, the exhibition gathers fragments from multiple contemporary artists, beginning with Milan Atanasković — both the author and the first curator of the…
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Olga Kisseleva, POWER STRUGGLE DC *, April–May 2020
Olga Kisseleva’s artistic projects are rooted in rigorous research and demand extensive preparation. The COVID-19 pandemic offered her an opportunity to focus on the behavior of viruses, giving rise to a new edition of her long-term project Power Struggle. Originally initiated in 2011 for the exhibition Red Cavalry: Creation and Power in Soviet Russia between…
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Véronique Durazzo & Didier Ducrocq PORTRAIT, 3 minutes, 6 years
« PORTRAIT, 3 minutes, 6 years»Video installation – variable dimensionsDuration: 6 yearsVéronique Durazzo | Didier Ducrocq – 2018 Video installation – variable dimensionsDuration: 6 yearsVéronique Durazzo | Didier Ducrocq – 2018 The screen has become the contemporary mirror. This work explores the boundary between surface, illusionistic image, and time. Such a questioning is only possible…