Taking Chances, Betting Memories was presented as part of the 10th Triennial of Contemporary Art – U3 (2024), curated by Tevž Logar, and forms part of the larger body of work developed under The Games We Play, a conceptual exhibition series unfolding over recent years. Drawing from Eric Berne’s theory of Transactional Analysis, the project investigates how personality archetypes—specifically the Parent, the Child, and the Adult—shape our emotional behaviors and communicative patterns within both intimate and institutional settings. Berne’s model, rooted in psychoanalysis, explores how these ego states function in everyday interactions—or “transactions”—forming the basis for how we relate, care, and assert ourselves within social structures.

Taking Chances, Betting Memories builds upon this framework, translating these archetypes into three large-scale pendulums—each suspended in its own gravitational orbit and symbolically embodying one of the ego roles. These pendulums operate as both sculptural presences and conceptual instruments, reflecting the tension and interplay between institutional authority and personal emotional negotiation.

The work proposes a poetic landscape for exploring how care, vulnerability, and control are distributed across psychological and systemic terrains. Informed by autoethnographic mapping, the installation positions these dynamics within a broader inquiry into vertical and horizontal forms of power—reaching across personal memory, social behavior, and institutional logic.

Through this project, Knezović continues her critical engagement with institutional systems from a perspective of marginality—using artistic practice to challenge centralized narratives and reimagine institutions as more inclusive, porous, and responsive environments.