My father, whose heart never really left Montenegro, responded in a way only he could. He said this selection meant more to him than any potential long-term success elsewhere.
In the case of Dr. Miljana Zeković, the curator of Montenegro's presentation at the 19th Venice Architecture Biennale, saying nomen est omen would be a stretch. Although she was named after her grandfather (and her sister Jelena after their grandmother), her connection to Montenegro runs deep — it’s central to who she is. Her impressive academic career likely began in a home where both of her parents were professors, fostering a love for books and learning in their daughters. Miljana is now a full professor at the Faculty of Technical Sciences in Novi Sad, yet she maintains strong professional ties to Montenegro—lecturing at the University of Montenegro and participating in architectural juries, competitions, and workshops.
Her affection for her father’s homeland, rooted in her childhood, has been carefully nurtured over time, growing into a profound sense of belonging. This emotional connection has deepened her understanding of Montenegro’s spirit and its unique relationship with the land. It’s this combination of expertise and emotional connection that made her the ideal candidate for curator of Montenegro’s Pavilion at the 19th Venice Architecture Biennale, a position selected by the Ministry of Spatial Planning, Urbanism, and State Property.
Antena M: How much of your decision to apply as curator for Montenegro’s Pavilion at the Venice Architecture Biennale was driven by professional motivations, and how much was emotional? I ask because in your application, you mentioned a strong family connection to Montenegro and stated that you consider Montenegro “equally a homeland” alongside Serbia, where you were born and currently live.
Zeković: I’d say it was both, equally professional and personal, which helped me on several levels, from writing the proposal to working on the project itself. Professionally, my main interest lies in the architecture of exhibitions and events, especially in how different entities present themselves on international stages. Personally, my connection to Montenegro is deeply emotional — it comes from family roots, relatives, and everything I’ve learned about and from my Montenegrin heritage. My sister and I spent part of our childhood moving between Serbia and Montenegro, and over time, both places became equally foundational to my identity.
Antena M: Do you feel that your understanding of Montenegro — not just geographically, but atmospherically and even in terms of identity — helps you “understand this space”? I ask this especially because Montenegro’s presentation in Venice carries the title Terram intelligere — “To understand the land”.
Zeković: Honestly, I think that understanding is very much a result of experience. Over the years, I’ve had the chance to travel extensively across Montenegro and study its spatial characteristics — something that’s become almost an obsession for me. I’m always looking for ways to represent the country more fully and with greater nuance. When this year’s Biennale curator Carlo Ratti announced the theme of seeking new hybrid and collective intelligent solutions, I immediately knew that Montenegro’s strongest contribution could be precisely this: the land and its phenomena — so present, yet often underexplored and insufficiently communicated.
Photo: CG press, private archive
Antena M: Who do you think is (more) responsible for the way many parts of Montenegro look, as if it’s a result of "not understanding the land" — architects or politicians?
Zeković: There’s blame on both sides, and I wouldn’t say this is a uniquely Montenegrin problem — it’s more of a regional one. Architecture and politics are deeply interconnected, and ideally, a country’s architectural and urban development strategies should emerge from a clear political vision and genuine goodwill. However, in a region marked by constant political turmoil and instability, it’s difficult to maintain continuity in sound architectural thinking. There have been attempts to develop national strategies of various kinds, but they often take too long to turn into concrete action plans, and by the time they do, many factors have already changed. I believe all the stakeholders involved need to reflect and align on a shared vision for the future, because ultimately, our land, our cities, and their future are a common interest.
Antena M: The Biennale is a place and an opportunity to showcase something local to the world. In your opinion, what from Montenegrin architecture is worth presenting at an event like the Venice Biennale?
Zeković: I’m really glad you asked that because there’s a lot to consider when it comes to the Biennale. What many people don’t fully understand is that the nature of the Architecture (and Art) Biennale is quite different from national, regional, or even international exhibitions and competitions, like architectural salons. Those usually showcase a wide range of architectural and urban production. The Biennale, however, pushes architecture beyond professional boundaries and into a broader interdisciplinary dialogue — one that is essential to architecture itself. It becomes a platform for exploring ideas, processes, and strategies that aim to improve and transform the world.
That’s exactly the point behind curator Carlo Ratti’s theme for this year’s Biennale: he invited participating countries to respond to the theme of “Intelligence” under the format “One Place – One Solution.” So, what a country can and should present in this context is its unique approach to research and exploration, not just its architectural output, but its way of thinking. It’s the spatial phenomena showcased at the Biennale that matter — and that’s how something local gains international relevance.
Antena M: Out of the eleven submissions for the national pavilion, the jury selected the project on dry stone — TERRAM INTELLIGERE: INTERSTITIUM — to represent us at the Biennale. Be honest — was it simply the best of what was submitted, or is it something that can impact the world’s biggest architectural exhibition?
Zeković: Interestingly, the theme of dry stone walls frequently appears in various competition entries and proposals for Montenegro’s national pavilion. However, what distinguishes this particular project is its unique perspective. Rather than viewing the stone wall as an abstract or external concept, it immerses itself in the stone wall, exploring it as both a social and natural construct.
The project demonstrates a deep understanding of the land, focusing on the microorganisms that inhabit the soil across Montenegro. These microorganisms are encased in specially designed polycarbonate structures that resemble the stones traditionally used to mark stone walls. Positioned on nutrient-rich substrates, they grow and form remarkable spatial patterns while also producing biopigments.
These biopigments hold great potential for the future of architecture and construction. They offer new structural possibilities, reduce pollution, and could replace conventional pigments made from petrochemical components and heavy metals.
The concept showcases intelligence at every level and is, without a doubt, a powerful and fitting response to the Biennale’s theme.
Photo: Private archive
Antena M: On a more personal note, how did your parents and sister react when you were selected as the curator of the Montenegrin Pavilion?
Zeković: Our parents have always been incredibly supportive of every decision Jelena and I have made regarding our professional paths. For them, success was always expected — not in a way that pressured us, but because that support was constant. At times, that did feel like a weight to carry, but more often, it motivated us to aim higher and keep pushing forward.
My father, whose heart never really left Montenegro, responded in a way only he could. He said this selection meant more to him than any potential long-term success elsewhere.
Photo: Dragana Udovičić, private archive
Interview conducted by: Darko Šuković
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