Born in 1973, Rijeka. Lives in Zagreb.

David Maljković's works confront us with forgotten or 'invisible' heritage, or heritage that is not perceived as valuable in the present moment. After the Fair (2009) evokes the Yugoslavian Pavilion at the International Vienna Fair in 1949, designed by Vjenceslav Richer, Ivan Picelj and Aleksandar Srnec, who were later members of EXAT 51, an artists' group active in Zagreb from 1950 to 1956. The group proposed to abolish the borders between high and applied art, emphasising the collective and experimental aspects of artistic practice. Members of the group were responsible for the architecture and design of various Yugoslav Pavilions at trade fairs and world expos, where Yugoslavia attempted to present its economic prosperity.
In After the Fair, Maljković brings the Pavilion into a surprising dialogue with another, diametrically opposed, location -Hreljić, the Zagreb flea market. The collages in which an outline of the Yugoslavian Pavilion floats above the flea market, bring back absent images of the pavilion as a reminder of the current lack of an optimistic and progressive political project. Despite the fact that they bring back the past, Maljković's works are not concerned with nostalgia, but the possibility of looking to the past with sober eyes, to reassess its potential for the present. With their focus on researching historical exhibitions and display models, his works serve as a strong reminder that an exhibition is not a timeless ideal space, but an experience determined by history and the conventions of presentation and reception.