In the spring of 2017, William Flatmo and I visited the Venice Biennale, and I was immediately captivated by Dragan Zdravković’s paintings that were exhibited as part of the Serbian pavilion. One of the main works exhibited was Barocco, a juxtaposition of an urban motif from Belgrade and a classic interior. The absence of people, the mystery of the composition and the ongoing silent drama piqued my curiosity and fascinated me. The work became part of my collection. I also acquired several other works, and then embarked on a journey to meet Dragan in Belgrade. It was here that the idea of an exhibition in Norway was born. For over two years, Dragan has produced new paintings for this first exhibition in Norway, and I would like to extend a big thank you to Kim Brandstrup and Marit Gillespie for also seeing the quality in Dragan’s artistry, and for giving him the opportunity to exhibit at Galleri Brandstrup. The artworks are a timely reminder of life in Eastern Europe, and how Dragan, like many of the people there, has a unique ability to create glimpses of light through art. Dragan’s work is created to transport viewers into dreamlike realms, inviting them to escape reality and lose themselves in imagination. I hope others will also be excited by Dragan’s art and that this will be the beginning of a long-term and fruitful relationship with Norwegian collectors and Norway.
Christen Sveaas
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REFLECTIONS OF OUR TIME:
Acquisitions of the Museum of Contemporary Art 1993-2019
Museum of Contemporary Art Belgrade, MoCAB
June 27, 2020 / January 2021
The exhibition of acquisitions presents an insight into one of the most important activities of the Museum of Contemporary Art, the strategy and policy of purchasing the artworks dating from 1900 until today, which have been carried out for the last twenty-five years. The occasion for the creation of the exhibition Reflections of Our Time is the fact that in the aforementioned period, the museum fund increased by over 1400 works of domestic, regional and European modern and contemporary art. The works were methodically procured through purchases from domestic and international exhibitions held at the Museum, works are key to comprehending and assessing the tendencies of contemporary art. From today’s perspective, this art fund places as one of the most relevant for the study and display of art from Serbia and former Yugoslavia and thus takes on a wider international significance. The tendency to augment the collections with works by foreign artists as well is a part of the vision leading to the creation of a respectable international collection of the Museum in the future.
Exhibition covering over two hundred representative works of art, points out the two basic concepts in the approach of acquiring museum collections — the historical line of development, which highlights the works relevant to the trends of 20th century modernism on the Yugoslav art scene, and another, which follows regional and European tendencies as well as the dynamics of the contemporary art scene.
photo credits: MoCAB, B. Janjic, Redondoli, D. Zdravkovic
10 October / 10 November 2019
The exhibition STAYING HERE WITH YOU – moving, organized in the fall 2019. at the Balkan Cinema Building (1867-75), nowadays a new contemporary art space, examines the very meaning of the concept of relocating, moving and staying. During the fall – Serbs, Swiss, Europeans, human beings – are represented in this historic building, not only their artwork – but also to be together in the same space, to fill the building with a performative community life. Life and art are understood here as an open playground, where something is always discovered, explored, experimented with, where interactions and reflections are possible.
Artists:
Ana Adamović, Mario Batković, Mitesh Dixit, Elina Duni, Yan Duyvendak, Jan Eugster, Ivan Grubanov, Samuel Herzog, Dejan Klincov, Muda Mathis, Sus Zwick, Fränzi Madörin, Dieter Meier, Alexandra Meyer, Radenko Milak, Branko Milisković, Milica Rakić, Christoph Rütimann, Katja Schenker, Nataša Šešić, Andrea Štaka, Mladen Stilinović, Olivier Suter, Dragan Zdravković
Curators:
Esther Maria Jungo and Ksenija Samardžija
photo credits: Bioskop Balkan, D. Zdravković and D. Meier
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HOMO INTERIOR
Nicola Samori
Dragan Zdravković
Radenko Milak
Istituto Italiano di Cultura Belgrado
Kneza Milosa 56, Belgrade
Curator: Ksenija Samardžija
Writings: Ksenija Samardžija, Jonny Costantino, Stevan Vuković, Christopher Yggdre
31. Oct – 30. Nov 2018. / Vernissage 31. Oct 18:30h
exhibition catalogue :
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E N C L A V I A – Painting, a Consequence of This Kind of Life
LDF gala auction/exhibition organized for supporting efforts of Leonardo Di Caprio Foundation
Curated by: Lisa Chiff (NY)
Realization by: de PURY (NY)
Donated painting: D.Zdravkovic, NWO Lines, oil on linen, 120 x 90 cm, 2003.
26th July – 10th August 2017.
more at:
Salon of the Museum of Contemporary Art Belgrade (MoCAB)
June 29th – August 29th 2016.
photo by courtesy of: S.Reljic (MoCAB), A.Grabez, A.Zdravkovic, V.Jocic
Along with skyrocketing progress made especially in the IT industry, that nowadays permeates all facets of human existence, identifying himself with his time as an immediate witness to the development of digital technologies, Dragan Zdravkovic creates his own space, which, following contemporary tendencies in the society and conditions imposed by new technologies, he describes as a hibernation mode wherein, like a computer, he puts himself to “operation” but he is not doing his best because he is saving energy and gathering strength, so as to keep away from the harsh social reality. Thus, in a symbolic sense, Zdravkovic attempts to relocate from reality and socio-political system he lives in, and “saves” personal and creative energy aiming at giving his utmost, through the process of artistic production, and forging a world of experience of one’s own reality as isolated from the flow of everyday events and, thereby, at the verge of metaphysical insights.
Presenting non-verbal transcripts of space, his paintings are reminiscent of another kind of time gate intended for entering into empty expanses – sites of another dimension of reality, a reality isolated from social reality, where all of us can come in, meet each other and identify, singling out the sites where time is dispossessed of its force, slowing its pace, describing the visible, outer manifestation, which does not define the inner mode of mental activity but rather a mode of personal hibernation, like the processes used by technological products of contemporary society. Behind these seemingly perfect sceneries on his paintings devoid of human figures, Zdravkovic aims at discreetly emphasising and prompting reflection on the issues of contemporary man and his alienation, caused by the pressures of everything that the speed of living and the imposition of socio-political norms bring about today. His paintings are dominated by tranquillity and silence leading the spectator to wonder about what really takes place behind the realistic depiction of the situation in a painting, thereby introducing us to our own mode of hibernation. Beside being a form of protest, for him art has also become a site of artist’s refuge from hectic and insecure reality into the Arcadian worlds of “ideal” order and harmony, of the dignity restored to Mankind and Nature….
Misela Blanusa (Senior Curator, MoCAB)
RTS 2:
Telecast about exhibition Hibernation Mode / METROPOLIS / author: Danijela Puresevic / RTS2 / go to 12 min.
go to 1:00:03 h>>> http://www.rts.rs/ >>> Radio Belgrade II /
interview with Misela Blanusa and Dragan Zdravkovic / Kulturni krugovi: Zlatni presek /author and speaker: Tamara Vucenovic / 29. June 2016/ 15:00 h
http://www.blic.rs/
theme: Focus Rewind curated by Nenad Glisic / – Art Pavilion Cvijeta Zuzoric, Belgrade, RS, 2016.
HIBERNATION MODE / STANJE HIBERNACIJE
Dragan Zdravkovic
paintings / solo exhibition
Gallery of Contemporary Art Pancevo
September 1st till September 12th 2016.
RTV Pancevo
Telecast about exhibition Hibernation Mode / Culture / Reportage by: Milica Curcin / 3.9.2016 / RTV Pancevo:
NEAR and FAR, 1914-1918 : Events / History / Memory
Curated by: Gordana KaljalovicJune 20 – July 20, 2015MUSEUMMACURA / Novi Banovci (RS)
Artists: / Dejan Atanackovic, Perica Donkov, Dragan Zdravkovic,
Milica Dukic, Robert Jankuloski, Gordana Kaljalovic, Boris Lukic,
Silvija Metzger, Milica Murgic, Djordje Odanovic, Branka Pavlovic,
Igor Stepancic, Vana Urosevic, Zoran Todovic, Isaak Chong Wai
exhibition catalogue /online:
http://issuu.com/BOX WWI / spatial installation / artwork by D.Zdravkovic for exhibition Near and Far 1914-1918: (video work, crate of ammunition (wood), shells and ammunition, stones, pc, monitor – 120 x 40 x 45 cm – camera/video editing N. Uskokovic, sculpture used in video: M.Prelic, A.Acic)
video preview / part of installation:
Radio Belgrade 2 / interview with Gordana Kaljalovic / Kulturni krugovi: Zlatni presek / S.Ristic, R.Leposavic / 24. June 2015 / sequence /:
Metaphysical Pop Art / An Option on Contemporary Art (solo exhibition)
White8 GALLERY – Vienna (Wien)
Mar 14 / May 25, 2013http://www.artfacts.net/http://www.viennareview.net/Dragan Zdravkovic: Hibernation Mode
Seither versucht Zdravkovic Orte und Situationen zu „portraitieren“, die abseits aller hyperenergetischen Ströme und Tempi liegen – „places of melodic silence and eternal play“. Die Bestandteile seiner „Portraits“ findet er dabei durchwegs in seinem nahen Umfeld, in den Massenmedien ebenso wie in der Welt der Werbung – Dinge, die ihm wichtig sind, weil sie den Gemeinplatz der Wahrnehmung repräsentieren. Mittels geringfügiger Veränderungen und ungewohnter Zusammenstellungen nimmt er diesen Dingen ihre ursprünglichen Bedeutungen und Funktionen, transformiert sie in „non-objects”, um sie „essentially space and time of the mental picture, spiritual and innermost self“ werden zu lassen.
Zdravkovic bedient sich neben einer der Montage verwandten Technik letztlich der (fotorealistischen) Malerei, um seine „Portraits“ auszuformulieren. „Selbst wenn alle seine Gegenstände der ikonischen Sprache der Massenmedien angehören, die Zdravkovic auf die Leinwand zwingt, wobei er sich dem Stil der jüngsten Generation der Leipziger Schule annähert, ist ihm bewusst, dass auch das sterilste und schematischste fotografische Vorbild auf der Oberfläche einer Leinwand zu atmen beginnt.“ (Lj. Gligorijevic)
Die Galerie white8 hat auf der Art.Fair in Köln im November 2012, zwischen 2006 und 2012 entstandene Arbeiten (Öl und Acryl/Leinwand) von Dragan Zdravkovic gezeigt und bringt im März 13 die erste Solo-Schau dieses international anerkannten Künstlers nach Wien.
2012/ 3. Februar — 31. März /(extended to – 27 April 2012)
Kunstraum Connex, Leipzig.
„SALVE“
Ausstellung im Kunstraum Connex, kuratiert durch die salve art gallery, Ines Keerl und Karin Krzenck-Lichtenstein
10 europäische junge Künstler stellen sich vor:
Alice Andreoli, Christian Bazant-Hegemark, Pierre Bechon, Fransziska Güttler, Alisa Medina, Melissa Franklin-Sanchez, Lucia Lamberti, Inese Valtere-Ulande, Vaclav Misar, Dragan Zdravkovic
Ort:
Kunstraum CONNEX
Steuer- und Wirtschaftsberatung GmbH
Thomaskirchhof 20
04109 Leipzig
2011/ Paintings & video instalation – Gallery of the Cultural Centre of Novi Sad (solo exhibition)
October 24th to November 4th.
http://www.kcns.org.rs/Exhibition Catalogue / online
Paintings & Digital Prints – exhibition at the Spinnerei – by LIA – Leipzig International Art Programme, Leipzig
LIA, Spinnereistr. 7, hall 18, 2nd floor, Leipzig
Opening: Saturday, September 17, 3pm
The artists:
Georgia: Guram Tsibakhashvili, Sophia Lapiashvili,
Luiza Laperadze, Tamar Botchorishvili
The Netherlands Fonds BKVB: Machiel van Soest
Serbia: Dragan Zdravkovic
Australia: Cameron Tauschke
Iran: Golnar Tabibzadeh
Art Gallery Leipzig – Paintings – (solo exhibition)
September – 8. November 2011
„Easy Like Sunday Morning“— Dragan Zdravkovic, Belgrad
Vernissage am 20.09.2011, 19 Uhr
Ort: Seeteufel, Ostuferweg 1, Markkleeberg
Leipzig,Tuesday, August 9th 2011.
Radio broadcast/interview with Dragan Zdravkovic Radio: Mephisto 97,6http://mephisto976.de/
LIA – SUMMER EXHIBITION / 29. July 2011, Spinnerei, Leipzig
Artists:
Teheran – Golnar Tabibzadeh
Milano – Alberto Finelli
Amsterdam – Machiel van Soest (Fonds BKVB)
Belgrade – Dragan Zdravkovic
Bologna – Lucia Lamberti
New York City – Aleah Chapin, Holly Sailors, Nicolas Holiber, Alexander Barton (New York Academy of Art)
text from catalogue by prof.dr. Ljubomir Gligorijevic
In his first paintings of the new cycle Zdravkovich provided an answer, without the implied fear of technical requirements, to the possibilities of using the photograph of an object and collage freedom imported from the advertising practice according to pop art practice. He was taking over the objects from mass media, but, eventually altered them towards the identity annihilation, thus making these objects unknown in popular culture, although he never abolished their existence in this culture: he converted them into objects pertaining to near future.
It is sufficient for him to embrace the glass of water, agitated by a pill, and a hair dryer, located above the glass, and then to stretch it out into the shape of a new object, and then to transfer all his technical perfection into the pill, glass, water… thus moving all these elements and the whole scene into the world of cold fantasy. It may be asserted, taking into consideration a series of previous paintings, that weak-will of water, represented technical perfection, radiance of objects have all served for achieving the dream of surpassing the collage procedure, dream of creating the fluid language. This may be accompanied by the previous attempt to avoid the already provoked discontinuity of space of totality by means of different calibers of masked decorative patterns. In this way, conditions have been made for the objects in later paintings to be at arm’s length, but they also participate in space “leakage” … also it is possible to exist on the border between the interior and still nature, that is landscape and interior. Although he approaches portraying the world as the object of “metaphysical” De Chirico-esque provenance, Zdravkovich does not permit the impenetrability of the borders of that world, but he also does not leave them fully open in the manner of pop art. Namely, he selects, with an emphasis, the motives whose painting interpretation will overcome the stopping of time characteristic of the De Chiricoesque painting. And, no matter how much the object takes over from the advertising lexis he develops them into space, taking into account their origin, changes them, and transforms them into anonymous perfections not requiring an enigma, or establishing an enigma of the first step with them… Although, collage making has survived within the preparation and conceiving of the painting, although it still influences the rigorous creating of space perspective, it does not eliminate the spaces of individual objects, all the more so, it allows them to pour out into space and to participate in the characteristic spatial exhibitionism in which Zdravkovich’s exceptional feeling of appropriate measure obtains the full expression. His predominantly large formats are dominated by lines, narrow and wide lanes of highlighted lengths, as if they were led by the art of throwing long strings away in the distance and by the exciting precision of determining their scope … (which are necessary in order to pull the balloon, to stretch out the balcony, to establish the lampshade, to banish the shell).When it comes to achieving the inexorably independent directions, it is necessary to discuss the powerful mutual spatial and formal cooperation of the established vectors, the severity of the accordance of the most distant accents as well as the collaboration of the separated spatial departments… Even though, all his painted objects belong to the iconic language of mass media, even though, Zdravkovich always tames their formal stereotype on canvas, by which he approaches the youngest generation of the Leipzig school, he knows that even the most schematic materially sterile photographic model finds the breath of matter on the surface of the canvas. Diffuse connotative elements – colours, reflections, the atmosphere…– remain within the borders of the peaceful igniting of identity … The secretive fluctuation of geometric purity is coherently generated here. The portrayed structural strokes, as well as the shape boundaries are made ethereal, utterly sensitive in the context of painting. He does not take care of the volume mass. Instead, he is searching for their permanent ambiguity, losing them in space, equating them with the plane of the picture, handing them over to the reflections which play on the border between topical and spatial, object and surface.The significant role in all this was entrusted to simultaneously utterly and clearly directed application of oil and acrylic. The phone was regularly depicted by oil colours, which conquered the softness of the phone, and fostered the flat canvases and the abstract depth was developed, light in space. The precise summaries of objects were painted by acrylic with oil foundation. Acrylic places its separated candidacy for nobility which is closer to the objectivity of the painted object: it is appearing on the spacious oil foundation like the secretively stored porcelain ready to follow the author’s kindhearted fantasy towards the humour and tenderness.
Lj.Gligorijevic
translated by Milos D. Djuric
2008. “Inequality“
Paintings – Gallery of Contemporary Art – Pancevo (solo exhibition)
René Magritte, la Trahison des Images /
The treachery of Images / (This is not a pipe or This not equal to pipe)
Izdaja slike / Ovo nije lula ili Ovo nije jednako lula
And the greatest creative achievements of the historical processes were the transitions from one world to the other. The relative is a phenomenon within the Absolute, but the Absolute can not be entirely relative.
Nikolai Berdyaev: The Philosophy of Inequality
2007. “Spazio per l’arte 2“(Space for Artwork II)
an art-project which is made at 52.Venice Biennial (La Biennale di Venezia), Gallery O3ONE, Belgrade (solo exhibition)
PRESENT IN THE (WATERY) DESERT
text from catalogue by prof.dr. Nikola Suica
The confession on the organization of the world has diverse species in the deposits of the passing European culture. The representations of the Old Testament solitary person Jeremiah deeply absorbed in thought over the state of consciousness of the surrounding behavior of human kind, has the additional up-to-date sense. Can a professionally responsible artist, conscious of the influence of games, and believing in the artistic mission, acquire any possibility of recognizing? The space of an exposition is the most efficient in the processing of the public exhibition, while in its tradition the International Biennial of visual arts is being imposed on it. For the 52nd time in the summer of 2007, the Biennale included the reserved spaces of challenge and nonchalance, obsessiveness and posing from the famous Giardino and the other locations across the lagoon of the city. Dragan Zdravkovic creates the autonomous exhibition space at the Venetian Biennial for the second time by means of the performance of the artistic professional’s subversion.
Uninvited in any group scheme of the artistic recognition, Dragan Zdravkovic (by means of the paid entrance ticket) determines the mode of surpassing in a way of an outsider. At the same time he reminds of the directions of the craftsman, master and media know-how. The spectacles of the Biennial world of art equal not only the representation policy, but also its dominant negating in the simultaneous exclusiveness.
United Nations or the fragmented art minorities of the Biennial impose on us in a period of a century and more the exhibitors and types of messages, and whether the presence of national presence may be overcome by means of the politics. How many art creators are there at the Biennial event and what is up with the absent ones and the persistent forgotten persons? Different organizers and curators dealt with statistical directions, and in the last two decades also the artists who had been introducing the sigh over their own investment into the great exhibition by storing the memory, like the written names of all the participants related to the centennial of Bolatansky at the central pavilion site. How many overseeing and understating are there in the offer and function of today’s optical, material or visual results? Approaching stealthily with the box entitled “Pavilion” made of his own name, Dragan Zdravkovic has no parasitic intentions in relation to the selection, dignity, as well as to the triviality and other obstacles of contemporary artistic offer. His engagement is a certain existential performance of his own presence, repeated in other circumstances towards the social mutation of anonymity. Personified and photographed as the carrier of his own art space, unwillingly he repeats the walking figure (or, flaneur, as French would say) who passes along the modernization of European citizens’ milieu of the late nineteenth century. The exhibitionistic parody of the industrial contemporary art produces the fact that the largest part of the question of the avant-garde is equaled with the question of the light entertainment. On the other hand, the space for an artwork of Dragan Zdravkovic, which is clearly seen, has been expanded by the latent portable counter, in the way of the man with his own marketing. This act warns that there are artistic interventions occurring around him as well as the acts themselves, the reminder out of the view of the mediocre haphazard audience of the Venetian Biennial, despite all the declarative liberation and the spectator’s loneliness the unclear merchant offer is taking place or has taken place.
prof.dr. Nikola Šuica
/translated by Milos D. Djuric
OUTSIDE EXPERIMENTAL ART CENTER
FLORENCE 2005,2006 and 2007
.
Center for International Studies of Arts (Belgrade), in collaboration with Comune di Firenze (Assessorato alla pubblica istruzione – Scambi internazionali), Studio Art Centers International (SACI) and Gallery – La Corte Arte Contemporanea, presented the Outside Experimental Art Center, a program of lectures and workshops in Florence. The aim of the program was to promote international cultural and educational exchange
Seminars and workshops (2007)
Maria Antonia Rinaldi: Contemporary Art Scene of Florence
Nikola Suica: Artistic Interrelations
Dragan Zdravkovic: An Intimate Map of Florence
Kevin Murphy: Art, Philosophy and Science of Florence from the Foundation to the XVIII Century
Michelle Illuminato: Site of View
Djordje Odanovic / Gordana Kaljalovic: Hidden Dimensions of the City
.
/more at:
Gazdinstvo“, Galerija 73, Beograd, 17- 29 novembar 2006.
Prostiranje slikarskog ‘gazdinstva’ Dragana Zdravkovica sadrži bravuru vidljive provokacije. Raspon okružujucih predmeta, kao i prisustva je šokantan u smirujucoj veštini izvodjenja. Tematski su objedinjeni: fizicka promena figure i okružujuce materijalnosti, uvidi u tajne geometrijskog poretka kao i tragovi odsutne ljudske energije. Posmatranjem, suocavamo se sa iskustvom savremenog stanja života uslovljenog tehnološkim prtljagom i to u rezultatima koji slede naknadno, posle tereta informaticke gustine i ukidanja razložnih objašnjenja, na paradoksalnim rubovima postojanja u praznini našeg proticuceg razdoblja posle istorije, izvan pouka i u ushicenoj akciji rasvetljavanja.
prof.dr. Nikola Šuica
interview for TV B92
(translated by: Miloš D. Djuric)
2006. “Exposição/Espólio” – Galerie Árvore, Porto, Portugal
2005. “Spazio per l’arte” (Space for Artwork)
an art-project which is made at 51.Venice Biennial (La Biennale di Venezia), Gallery O3ONE, Belgrade (solo exhibition)
SPACE FOR ARTWORK
text from catalogue by art critic & curator Stevan Vukovic
Art is located in the continuous and inevitable process of closing itself within the institutionalized frames, directions, trends and brands. It becomes the illustration of theoretical postulates, the means of the cultural policy, a part of the industry of culture, and even a part of the industry of entertainment, or is simply reduced to the individual hobby of those who produce it. In the era when the postulates of the avant-garde and the radical modernism dominated, there existed at least some faith in the negatory potential which is carried by the artist himself and achieved in his works, but this faith had been proclaimed naive long time ago, while the art system scored the triumphal victory over the individual attitude and collective utopia. Where is then the space for personal and autonomous artistic intervention? The answer is, unfortunately: nowhere. It cannot be found as something given positively, and afterwards solely used up; this space must be reopened again and initiated, not anymore by heroic acts of negating the whole/overall existing tradition, as was the case with the experience of the historical avant-garde, but by the gestures of the establishing the unstable and short-lived autonomous zones, which elude the logic of the system, or pervert it. The artwork of Dragan Zdravkovic in the context of the 51st Biennial in Venice was derived as the special materialization of attitude towards this issue. Namely, by his action, Dragan Zdravkovic interpreted the act of exposing as something utterly performing. The exhibitor, which is personified by him in the action in the context of the Biennial, is not a passive participant of the review manifestation, but an exhibitionist who tends to share his need for exhibiting, thus exhibiting both space and object of personal passions, with any person who is found there as the accidental passer-by, with hope that this may be the very object of his desire, with hope that this passer-by is located right there in order to meet the space for artwork, and not merely the space of representing national cultural policies and custodian practices.
Dragan Zdravkovic was not an official participant of the Biennial; he was chosen neither by the national selector nor called by the main custodian or organizer of any of the numerous accompanying manifestations. In the manner of guerilla, unannounced, he intruded into the thick well-mapped territory of presentation and promotion of official art practices and temporarily annexed the part of the territory of a size of the volume of his body. ‘Space for Artwork’ within this action appeared in the form of the inscription on the undershirt, which was shown by unveiling the overcoat, which makes the parody out of the act of exhibitionism and determines art not as the institutionalized product but as the object of refined passions.
Stevan Vukovic, OzONE Gallery, Belgrade
/translated by Milos D.Djuric
“New Age Matches”, ambient installation, Outsideproject
Studio Art Centers International, Florence, Italy
Etchings, The 3 rd International Engraving Biennial – Douro
Exhibition of Biennial Commissioners, Portugal
“30+/ Ultimate Transforming Lift Art”
Gallery of International Cultural Center, (YUBIN) Belgrade
2004. Drawings, City Gallery, Paracin, Serbia (solo exhibition)
Paintings, Exhibition of group “Mosaic”
Gallery of the Diplomatic Club, Belgrade
Project “OPEN” (OTVORENO)
2003. Paintings – Gallery of the National Museum, Vranje, Serbia (solo exhibition)
“Process of Renovation – Dynamic Ready-made Installation“
Gallery of Belgrade Cultural Center (solo project)
Scenery design for theater performance “LOVE”, Bitef Theatre, Belgrade
“Susie Q“(Suzi Kju)/ TV spot for theater performance “LOVE”, Bitef Theatre, Belgrade
Etchings, 2a Bienal International de Gravura, Douro, Portugal
exhibition catalogue :
