Exhibition Yoko Ono in Montenegro represents a cultural event of exceptional importance, as it not only allows the Montenegrin audience to become acquainted with the work of one of the most influential avant-garde artists of the 20th and 21st centuries, but also opens up space for considering art as a space for dialogue, social criticism, and political activism.
He said this in an interview with "Vijesti" Maša Vlaović, curator of the exhibition “Unfinished”, the great Yoko Ono, which will open on June 19 in Podgorica in the exhibition spaces of the Petrović Castle and the Perjanički Dom in Kruševac, at 20 pm, and organized by the Museum of Contemporary Art of Montenegro (MSUCG).
"Yoko Ono is a globally recognized avant-garde artist, a pioneer of conceptual art and one of the key figures of the contemporary art scene. Bringing such a name to Montenegro means entering the world cultural map and confirming the willingness of domestic institutions to follow contemporary trends," says theorist and art historian Vlaović.
In addition to her, the exhibition curators are: Gunnar B. Kvaran i Connor Monahan, and the exhibition will be open until September 15, 2025.
He points out the significance of the event itself, the artistic concept, particularly interesting works, but also Yoko Ono herself and how much she John Lennon an unavoidable segment of her life and work, Maša Vlaović speaks to Vijesti, announcing the opening of the exhibition.
What does the exhibition bring to the MSUCG and how would you announce it at the very beginning?
This is a rare opportunity to see how experimental art can function both as a formal game of perception and as a means of transforming reality. In the context of Montenegro, this exhibition appears at a time when we are asking the question of how contemporary art can communicate with local cultural narratives and how experimental concepts can influence the understanding of art in a society undergoing dynamic socio-cultural changes. The exhibition “Unfinished” raises the questions: How do we be present? How do we connect? How do we imagine peace - both within ourselves and around us? And finally, how do we not only see, but also act through art?
Yoko Ono persistently calls for us to “imagine peace.” Is that possible today, both in Montenegro and the region, and in the world in the midst of numerous conflicts? Is the idea of peace, a balance of the utopian and the real, achievable, and can art contribute to that?
Yoko Ono's call to "imagine peace" is not naive, although it may seem simple or utopian at first glance. It is deeply political, ethical and responsible. In times of pervasive crises, imagining peace means daring to believe in the possibility of a different world. In Montenegro, where a sense of personal and social security often eludes, the idea of peace becomes both a personal and collective need. Yoko Ono does not offer ready-made answers, but reminds us that peace is a process - which begins in each of us, through awareness, responsibility and relationship with others. Art, in this sense, has extraordinary power - not because it solves problems, but because it creates space for empathy, dialogue and reflection. Peace may not come quickly and may not look the way we imagine it, but Yoko Ono invites us to at least imagine it - because without that first step, no other is possible.
What makes it special and in what ways is it significant, both for the institution and the state, but also for future visitors?
The exhibition “Unfinished” is special in its artistic and symbolic significance - Yoko Ono is a globally recognized avant-garde artist, a pioneer of conceptual art and one of the key figures of the contemporary art scene. Bringing such a name to Montenegro means entering the world cultural map and confirming the readiness of domestic institutions to follow contemporary trends. For an institution such as a museum, this is a prestigious recognition and an important moment in its history. Such a project strengthens the credibility of the institution, opens the door to international cooperation and provides the opportunity for professional and professional development through contact with international standards of exhibition and production. This exhibition is also important for our country, because it contributes to strengthening the image of Montenegro as a country that invests in contemporary art and supports innovative projects. Of course, we owe special gratitude to the Ministry of Culture and Media of Montenegro, which recognizes the importance of such large projects. For future visitors, this exhibition is a valuable experience - an opportunity to encounter works that carry universal messages of peace, freedom and personal responsibility. Yoko Ono's art is often interactive, so the visitor is not just a passive observer, but an active participant - which can be an inspiring, educational, and even transformative experience.
How was the selection made, and what was the (curatorial) experience like entering Yoko Ono's world? Did you find her openness and "incompleteness" challenging, stimulating, or liberating?
The selection itself was made carefully and in dialogue with her team, with the aim of presenting the audience with a cross-section of key moments of her decades-long practice - from conceptual practices, instructional art, interactive installations, performances... We conceived the exhibition as a spatial and emotional journey through her ideas. Entering Yoko Ono's world was deeply stimulating - her openness and unfinishedness did not limit me, but rather liberated me. That space of freedom that she leaves to the viewer forces you to think, feel and participate. This is what makes her art so powerful and contemporary even today.
When we talk about her, we are talking about a multitude of associations, but also a call to action. What would you say, who is Yoko Ono and why is she important today? Is it possible to look at her from multiple angles, and how much of an unavoidable segment of her life and creativity is John Lennon?
When we talk about Yoko Ono, we are talking about a powerful symbol - not only of art, but also of freedom, peace, resistance and a call to personal action. Her name carries numerous associations, but what essentially defines her is her ability to connect art and society - not only on a formal, but also on a deeply ideological level. Most of her works are focused on the psychology of revelation, introspection and the conquest of personal freedom. Through provocative, often participatory forms, Yoko invites us to be active participants - not only in her art, but also in our own lives and the society in which we live. Her artistic practices have begun to rely on other types of artistic materials, such as thoughts, feelings, interpersonal relationships, ideas, political content, responsibility. John Lennon is an important part of her life and creativity, but Yoko Ono has been a strong, independent artistic personality long before and after that relationship. Their partnership was fruitful and symbolic, but her art is complex and multi-layered enough without that that it can and must be viewed independently. It is important today because it reminds us that art is alive and that life itself, with all its fractures and struggles, is one continuous work of art.
Yoko Ono and John Lennon performed some of their most significant performances together: “Bed-In for Peace” (1969) as a protest against the Vietnam War, and “War is Over (If you Want It)” (1969) as a powerful artistic expression that was part of their peace campaign. They aimed their joint performances to promote and spread messages of peace, tolerance, non-violence, love, and social change through the act of art.
What do you personally feel is its calling and what does “Unfinished” ask of us, here and now, in Montenegro?
For me, “Unfinished” is a call to responsibility - towards ourselves, others and the society we are building. It is a question of freedom, empathy and willingness to be part of the process, not to wait for “finished and ready-made forms”, but to act now, even though everything is imperfect and ongoing. In the context of Montenegro, where many processes - social, political, cultural - are still “in the making”, its message seems almost personal. Unfinished asks us: What are you ready to do? And it does not offer ready-made answers - but invites us to search for them together.
Would you single out any work as particularly interesting, important, or even key to understanding Yoko Ono's artistic philosophy?
One of the works that I find particularly significant is “White Chess Set” from 1966. Seemingly simple, but deeply symbolic, this performance uses chess - a game of conflict and competition - to completely change its nature. All the pieces are white, and the players eventually get lost in the mechanics of the fight, because they can no longer distinguish “sides”. This confronts us with the question: How do we play when there is no opponent? It is through this loss of competitive spirit that the work invites us to build trust, mutual synergy and joint action. It asks key questions: How do we gain and keep someone’s trust? How long does it take to build it? How do we live freely without jeopardizing the freedom of another? This work, which forms the core of the artistic philosophy of the artist Yoko Ono - engaged, conceptual, but at the same time deeply personal. It invites us to reconsider the roles we play in society and the relationships we build, freeing us from ideological divisions and returning us to ourselves.
Does this exhibition open up new questions about the role of women, bodies, and identities in our time and context? How do you see the domestic audience's attitude towards the feminist themes that the exhibition emphasizes?
Yoko Ono comes from a distinguished Japanese family, and her exceptional education in music and philosophy gave her the freedom and breadth to reflect on important social issues in a unique and innovative way. This intellectual foundation enabled her to use art as a space to explore female identity, the body and social issues, and to communicate universal messages of freedom, resistance and self-awareness through her work. Of particular importance in the exhibition is the work “Arising” (2013), an interactive project in which women from Montenegro and the world share their experiences of violence and discrimination. This work empowers women to express their unpleasant experiences and opens up space for an important social dialogue about violence, a topic of great importance for our society. Collaboration with the Center for Women’s Rights further strengthened this segment of the exhibition and showed that there is a willingness of the domestic audience to engage and think about these issues. The exhibition does not offer ready-made answers, but invites us to think about the body and identity, in a context that is often still sensitive and complex for our community.
Is it possible, and in what way, to connect Yoko Ono's work with current socio-political, cultural, and individual processes in Montenegro?
Absolutely. Yoko Ono's work, although created in different cultural and temporal contexts, is extremely relevant today - and here. In a world that abounds in scientific and technological achievements, and often neglects spiritual and human values, Yoko Ono reminds us that we can find strength within ourselves, but also through connecting with others. In Montenegro, where society still faces numerous challenges - from political divisions to the need to strengthen civic awareness - her message is more than relevant. The call for solidarity, trust, togetherness and spiritual clarity comes at the right time. Yoko Ono calls on us not to accept the decline of criteria, but to create a space together in which humanity, freedom and art gain the place they deserve.
How important is Zen philosophy and Japanese tradition for understanding her work and how is it reflected in the individual works presented at the exhibition? On the other hand, does the exhibition require prior knowledge from visitors or offer insight into Yoko Ono's work even to those who are just getting to know her and him?
Zen philosophy and Japanese tradition are deeply present in Yoko Ono's work - not only through forms and aesthetics, but also through her way of thinking. Silence, emptiness, attention to detail and the idea that meaning is found in simplicity and the everyday - these are all elements that permeate her work. A good example of this is the work “Wish Tree” (1996), an interactive installation in which the audience is invited to write and hang their wish on a tree. This gesture, inspired by Japanese tradition, relies on the idea of joint action and joining of inner forces. Through a multitude of individual wishes, a common field of hope, closeness and responsibility is created. On the other hand, the exhibition “Unfinished” does not require prior knowledge to be experienced and understood. Its openness is precisely what makes it accessible - both to those who are meeting Yoko Ono for the first time and to those who have been following her work for years. The audience is invited to actively participate, to feel, to think and to build their own relationship with the works. That is the power of her art - it does not ask us to know the "correct" answers, but to be sincerely present.
It is definite that Yoko Ono, with her avant-garde approach, breaks down the boundaries between artistic disciplines, but also between artist and audience, art and life. What does that look like for us and are we ready to abandon passivity and enter into that dialogue?
In the context of Montenegro, where audiences have long been accustomed to a more traditional approach to art, this form of participation is both challenging and refreshing. The experience with this exhibition shows that audiences are willing to cross that line of passivity. Whether it is writing wishes, sharing personal experiences, or participating in quiet, thoughtful works - there is a need for deeper connection and dialogue. We may not have completely moved beyond that passive model yet, but this exhibition is a clear indication that there is space, desire, and potential for art to become a shared space of exchange - between artists and audiences, between the personal and the universal.
Why visit the exhibition? Is there any idea from the world of Yoko Ono that you would like the audience to take with them, but also to stay with us in Montenegro after the exhibition?
The exhibition is worth visiting because it is not “just” a visual display - it is a space in which everyone can recognize themselves, question themselves, and even heal. It is a call to silence, tenderness, but also courage. To connect with oneself, with others, and with the idea that the world can still be different and better. The message that I would like the audience to take with them would be the one that Yoko Ono often repeats:
"Listen to your heart."
Respect your intuition.
Make your manifestation happen.
There are no restrictions.
Have courage..."
The work is alive, universal and current, perhaps more so than when it was created.
How did the Yoko Ono exhibition in Montenegro come about and what was your curatorial vision when designing the exhibition, given that you worked in a three-member team? What did you want the Montenegrin audience to feel or understand through encountering her works?
The realization of the Yoko Ono exhibition is the result of months of collaboration with her team and is part of a broader effort by the MSUCG to open up to the international scene. This project is a continuation of the strategic direction through which we have already presented artists such as Erró, Kiki Smith, Sam Durant, Šejla Kamerić - names that confirm our commitment to contemporary art of global importance. The work on the exhibition was both organizationally and productionally demanding, but also extremely inspiring, because the entire exhibition was produced in Montenegro. With the great and significant support of colleagues Gunnar B. Kvaran and Connor Monahan, who work closely with Yoko Ono, we managed to present the audience with a comprehensive insight into her work - through a strong, engaged and open exhibition that directly communicates with the times we live in. Our shared vision was to enable the audience to deeply immerse themselves in her work - as a kind of retrospective, through which the continuity of her ideas, messages of peace, personal responsibility and engaged art can be felt and understood. We wanted the audience to not only watch, but to participate and feel how alive, universal, and relevant her work is today, perhaps even more so than when it was created.
Bonus video:
