An interest in space and its social, cultural, and psychological connotations is of fundamental importance for Bojan Sarcevic (*1974 in Belgrade, lives in Paris and Berlin). His contribution to the exhibition Formalism—Modern Art, today consisted of two massive granite working surfaces on black metal frames. Grooves, scratches, and notches produced by stonemasons in the course of their work contrasted with the presentation of the objects. Social relevance and autonomy vie with each other in his works. The use he makes of the formal vocabularies of the 1910s–1930s can also be viewed against this background. For it was in precisely this period that the decisive 20th-century cleft crystallized out between the idea of a purpose-free art appealing primarily to aesthetic criteria, and a political stance that called on art to change society. The five 16 mm films of the work cycle Only After Dark explore the surfaces of abstract objects—small sculptures in wood, metal, and other materials. Music composed specially for the films as well as the pavilions—reminiscent of constructivist architecture—in which they are presented enhance their mysterious, charged atmosphere. Staged and filmed, the objects shift between landscape, architecture, design, and stage set. Sarcevic deliberately plays off the social determinedness of these realms against the formal elegance of their staging.