Through 3D modeling, Domanović has cast the ‘Belgrade Hand’ as an actor in her ongoing exploration of women’s liberation, art history and the history of former Yugoslavia and the Balkan region at large. The hand – the first of its kind and able to haptically respond to touch – is a representation of Yugoslavian innovation.
Focusing on the role of women and minorities as often overshadowed or misrepresented agents of technological innovation, Domanović’s sculptures, in their quotidian poses – a hand holding a cigarette, apple or baton – subtly engage a history in which these objects have a deep semiotic and historical significance. The cigarette, in this instance, is rather a ‘torch of freedom’, a term coined by psychoanalyst A.A. Brill in the early 20th Century and then used as a marketing scheme by pioneering ad-man Edward Bernays. Bernays hired women to smoke publicly as an assertion of their social equality, while at the same time conveniently awakening a massive and previously untapped market of smokers.