Macondo (2024- )

Macondo reflects the vivid memories of my childhood in Futog, a settlement in northern Serbia that was once a cultural and trading center of Europe. I lived in Futog until I was nine, in a house that wasn’t just home to my siblings and me but also a gathering place where my grandparents welcomed everyone who came through its doors. It was a space filled with people, stories, and moments that, even now, feel magical and uncanny at the same time.

After I moved away, each visit to Futog made the house feel less like the one I remembered, as if time had quietly transformed it into something unfamiliar. This gradual detachment mirrored the shifting nature of memory itself—fragile and ever-changing. The house, like Futog, exists somewhere between what it was and what it became, holding onto fragments of the past that blur the line between reality and imagination.

The title Macondo draws inspiration from Gabriel García Márquez’s One Hundred Years of Solitude, in which Macondo is a fictional place where reality and the fantastical coexist. Like Márquez’s Macondo, my childhood home in Futog exists in my memory as a space where magic and the everyday intersect—a place deeply rooted in both personal and collective histories.