There, Again brings together glass portrait sculptures and black-and-white collages by Sanja Medić, exploring repetition, memory and transformation. Drawing on historical sandstone ornaments by Bart van Hove, the exhibition considers how familiar forms return in altered states, where each repetition introduces subtle differences and new possibilities.

There, Again

Bradwolff & Partners presents a series of glass portrait sculptures and black-and-white collages by Sanja Medić, exploring repetition, return and transformation.

Three faces return: a woman, a lion and a man. The glass sculptures are smaller versions of works Medić made for Revisiting The Cullinans, her recent public-space project for the Asscherkwartier in Amsterdam. The works are based on sandstone ornaments by sculptor Bart van Hove, which still adorn the façade of the former town hall of Nieuwer-Amstel on the Amsteldijk.

Medić 3D-scanned the original sculptures and used the digital models to produce new versions in glass. In the presentation, each portrait appears three times. They look the same, but are not. Small differences emerge through the casting process. Repetition becomes variation; what returns is never quite identical to what was there before.

The black-and-white collages extend this exploration into two dimensions. Images are fragmented, rearranged and repeated, allowing the portraits to reappear in altered forms. Through these shifts between material, image and reproduction, Medić examines how forms persist, change and acquire new meanings over time.

The familiar returns. Not quite the same.Sanja Medić is a Dutch-Serbian artist based in Amsterdam. She studied at the Royal Academy of Art in The Hague and was a resident at the Rijksakademie van beeldende kunsten in Amsterdam.

Medić works across sculpture, collage, installation and public art. Her practice explores repetition, memory and transformation, bringing together fragments of the past and present through a conceptual, collage-like approach. Material research and a close dialogue with site and medium are central to her work.

She has realised numerous public commissions, including the video installation “Free Fall” in the Dutch Parliament in The Hague, “De Reiziger” at Breukelen railway station, and “De Batavier”, a ceramic bookshelf integrated into a façade in Amsterdam. Her public works emerge from the architectural, historical and social context of their locations and are developed in close collaboration with skilled craftspeople.

Alongside her artistic practice, Medić teaches at the Royal Academy of Art in The Hague, lectures on public art and works as an art adviser.