Sanja Ivekovic also speaks to shifting contexts with Ponos (Pride), an installation built around a remade neon shop sign from socialist Yugoslavia. The sign hung at a textile shop and bore a name typical of the time. But the reference to mandated respect for the country’s economic system is now outdated; pride has been removed from the shop walls and brought into the art world. The sign’s physical movement reflects the shifting consequence of a single word and the impossibility of persistent meaning.

It Doesn’t Matter by Katerina Seda has no tangible relics from the past. Instead we see a video of the artist’s grandmother drawing a catalogue of objects from memory. One item after another, this elderly woman depicts the merchandise sold in the shop where she worked for many years. This project arose from Seda’s attempts to connect with her grandmother, a woman who refused to utter much besides the title’s “It doesn’t matter.” She has blocked access to more than a slight window onto her experience. Unaware of the circumstances that led to her tired resignation, we can only speculate about this woman’s story.

In KOLDOM, Zbynek Baladran also creates a drawing from memory, his focus the layout of an apartment. He revises his efforts, crossing out walls as the process reveals gaps and inconsistencies. Baladran’s drawing refers not to a space he lived in but to a utopian apartment first imagined by architect Karel Honzik. Our yearnings for the past include much that was built only in the landscape of the mind.

Stalking with Stories includes work by eight artists in total. apexart provides a brochure with a short essay written by the curators that thoughtfully examines the theoretical underpinnings of their selections.