Urbana Utopija 2011

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urban utopia

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Svetlana Dragojeviurbana utopijaurban utopia

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tekst yazar textPavle Goranovi

3 jun / haziran / june 2011

Svetlana Dragojeviurbana utopijaurban utopiaehir topyas


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urbane utopije

Italo Kalvino je volio orino, smatrao ga je ak idealnim gradom za pisanje, jertu su, prolost i budunost izraenije od sadanjosti i jer poziva na strogost, na stil. Ongovori o gradovima koje prisvajamo itanjem, o Njujorku kao najjednostavnijem gradu,Parizu i Rimu kao gradovima o kojima je previe napisano. Na koncu, Kalvino je stvorio i

ascinantne Nevidljive gradove. U potrazi za stvarnim i izmatanim gradovima odvija sei slikarstvo Svetlane Dragojevi. Sveprisutna je ranirana lozoja grada kojom se obja-njavaju njeni osnovni motivi, itav mikrokosmos izgraen od opsesivnih prizora, naizmje-nino smjetenih u prostore stvarnosti i mate.

Svetlana Dragojevi stvara jednu imaginarnu mapu mjest koja joj se ukazuju ikojima suptilno i sigurno objanjava svijet oko sebe. A taj svijet je satkan od raznovrsnihgraevina, ba kao to raznovrsna mogu biti osjeanja svijeta i raspoloenja prema onometo se odvija tu, oko nas, u naim susretima sa atmoserama koje nas i nae misli okruuju.e graevine nerijetko se naslanjaju jedna na drugu ili ive posve samostalno, privlae nas

na razliite naine. Pojam grada u svojoj punoi podrazumijeva susret sa mnogim, esto inepredvidljivim ispoljavanjima; tako je i u ovim radovima. Postoji vie ravni grada vienivoa slike. Dok punoa kolorita uvjerljivo ukazuje na boje zastora nekog grada. ako na-

viru cjeline, koje opet ine neke cjelovite oblike, u kojima se odigrava javni i tajni ivot u-male i zamiljene, lijene i razigrane, ljudske zajednice. A gdje je nae mjesto? Valjda, para-razirajmo Siorana, negdje izmeu bia i nebia, izmeu dvije kcije.

Na radovima Svetlane Dragojevi, dakle, dominiraju neka mjesta, neki predjeli.A to mogu biti i mjesta u srcu, predjeli razmiljanja, putevi saznanja, nekad vijugavi, ne-

kad odreeni pravilnim linijama. Opet su to mogunosti dospijevanja do svijeta, do sebe,do nas. o su vizije od kojih se sastavljaju red i komar, sklad i mete - u istom ambijentupostavljeni. Hramovi su to egzistencije koja se uvijek drugaije doivljava. U tom zahtjev-nom procesu, umjetnica vjeto sainjava redosljed simbola, gradi jednu arhitekturu mogu-eg smisla. I pri tom ne zaboravlja da slika (da grad!) ipak mora nositi neku ljepotu. Njenasposobnost da primijeti omoguava nam da se lako prepustimo tim tajanstvima, ploni-cima i svjetionicima, stubitima i kulama, bedemima i trgovima, prozorima u kojima seogleda more... Vidjeemo tu i Mediteran, i to ne nuno u motivima, koliko u osobenomsenzibilitetu umjetnice.


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U likovni izraz Svetlane Dragojevi uli su, vjerovatno s istom namjerom, vie-ni pejzai i oni do kojih se dolo intuicijom. Ovdje se i spoj civilizacija odvija u prirodnom

susretu. akoe, susret drevnog i savremenog je mogu, na svim onim mjestima gdje sepromilja o poloaju ovjeka. ako i u ovim lavirintima posmatramo kako se smjenjuju,recimo, barokne i ekspresivne strukture, unutar urbanih doivljaja vavilonske zbrke kojastoljeima traje. Kao da najvea uda nijesu ona koja oima vidimo. oliko neobinih re-alnosti vidimo, skladnih i suprotstavljenih, u Jedno posloenih; treba im pronai mjesto umislima i u slikama.

Nema ovdje sporenja sa civilizacijom u kojoj ivimo, niti rasprave sa onim pret-hodnim. tavie, naglaeno je uvaavanje nasljea starih civilizacija, svega to je ovjek ponekom svom obrascu stvorio. Ovo slikarstvo nalazi se, takorei, u mrei civilizacija a to

podrazumijeva i snanu pripadnost gradu, kao trajnom simbolu ljudskog postojanja. Sve-tlana Dragojevi je svjesna da razumijevanje grada nudi raznovrsne mogunosti; u njego-

vim meandrima sve je odivljeno. Pod njegovim se svodovima deava sve to trebamo osje-ati i spoznavati. Stoga su ove urbane utopije u antastinom nizu, nizu koji unkcioniekao provjereni osjeaj prostora i vremena. Ispod asada (a zato su i one takve, naoko krh-ke, naoko u izmaglici i lelujavom snovienju) odvijaju se nekim svojim redom dobro i zlo, ipozivaju na zapitanost ili potpuno otuenje. Ovo su sl ike proimanja. aj izdvojeni kosmosini nam bliskim pouzdano ushienje inom stvaranja koje prepoznajemo kod umjetnice. Itako, predstavljeni doivljaj cjelina u kojima se deavaju sve stvari, osjeamo svojim, ta slo-boda obuzima nas lagano. I taj temeljni iskaz koji i na jakoj komunikativnosti poiva.

Likovni postupci Svetlane Dragojevi su strpljivi, ali odluni, jedni se drugimapodupiru, usaglaavaju sa izgraenom poetikom. Pred ovim tehnikama i bojama stojimokao pred uvjerljivim prividima. Pretpostavljeni i vieni prostori idealna su mjesta za mane-

var metaora i alegorija. Kako samo umjetnica nalazi pejzae pogodne za iskazivanje onogau emu se svi moemo nekad prepoznati. ak i preteno odsustvo likova (ili je i to dio pri-

vida) navodi na misao da se predjeli sami sobom objanjavaju, da su oni lica ljudi, slinih isuprotstavljenih, ali onih sa kojima se poistovjeujemo.

Grad je, pozovimo se ponovo na Kalvina, onaj simbol u koji se mogu smjesti-ti sva promiljanja, iskustva, pretpostavke. I snane emocije, iskuene identikacije s ne-kim gradom (gradovima, naravno), naine na koje prolost ulazi u sadanjost ili direktnou budunost, naine prelamanja stvarnosti dodaemo nakon posmatranja radova Svetla-ne Dragojevi. Bogatstvo izraza u ovoj prii o simbolima ini nepregledne pejzae i donosimnoge putokaze za tumaenje i izbor da budemo dobrovoljno zatoeni u ovoj utopiji.

Pavle Goranovi


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ehir topyas

Italo Calvino orinoyu severdi. Hatta orinoyu, yazmak iin en ideal ehir ola-rak grrd nk gemi ve gelecek, bugnden ok daha anlamlyd orada, stil sahibi vekurall olmaya davet ederdi. Okuyarak keettiimiz ehirler hakknda yazar Calvino, enyaln ehir New York ya da saysz yazya konu olan Paris ve Roma hakknda yazar. Sonun-

da Calvino byleyici Grnmez ehirleri yaratmtr. Svetlana Dragojevicin resimleride gercek ve hayali sehirleri arayarak kurgulanmstr. Her yerde, ehrin temel paralarnanlatan raine bir ehir elseesi, gereklik ve hayali mekanlara allmadk biimde yerle-tirilmi obsesi tasvirlerden doan btn bir mikrokosmos vardr.

Svetlana Dragojevic, hayal ettigi yerlerin bir haritasn yaratyor ve bu haritay kul-lanarak kendi dnyasn incelikle anlatyor. Yaratt bu dnya, tpk insanlarn arkl d-ncelerinin, hislerinin ve dnyaya kar tutumlarnn i ie gemesi gibi, birbirinden arklbinalarn bir araya gelmesinden oluuyor. Bu binalar bizi kendilerine ekerken, ne birbirineyaslanyor, ne de birbirinden tamamen ayr duruyor. Bir ehrin btnl nasl tahmin edi-

lemeyen olaylara, karlamalara balysa, ayn ey bu eserler iin de sylenebilir.Eserlerde kullanlan renkler ve tabakalar, her ehrin kendine has, arkl dokula-

rn temsil ediyor. Ayn ekilde bir btnlk salayarak, tamamen zt kutuplardaki insan-larn bir araya gelebilmesine gnderme yapyor. Peki, btn bunlarn ierisinde bizim ye-rimiz neresi? Siorandan alnt yapmak gerekirse: Var olmann ve hiliin, iki kurgununarasnda bir yer.

am da bu nedenle Svetlana Dragojevicin eserlerinde kimi yerler, kimi manzara-lar daha n plana kyor. Dragojevic, kalbindeki yerleri, bilgi patikalarn, yakalad me-kanlar, bazen durmadan kvrlan, bazen de dzenli sert izgilerle resmediyor. Bu imgeler,kendimize ve dnyaya ulamann da olanaklar, ayn zamanda. Dzen ve kaosun, armoni

ve karmaann bir arada bulunduu imgeler. Bu zorlu srete, sanat sembollerden olu-an bir dzeni, anlamn mimarisini ustalkla yaratyor. Bunu yaparkan de bir eserin (da-has bir ehrin!) sslenmesi gerektiini de aklndan karmyor. Bu gzlem yetenei, res-medilen kaldrmlarda, deniz enerlerinde, merdiven boluklarnda, kulelerde, duvarlarda

ve denizin aynada kendine bakt pencerelerde kendimizi kaybetmemizi salyor... Eser-lerde yalnzca sanatnn kendine zg duyarlln deil, Akdenizi de grebiliyoruz.


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Dragojevicin sanatsal iadelerine, tahminen ayn amala, grebildiimiz man-zaralarn yan sra, sezgilerimizle eriebildiklerimiz de szyor. Bu eserlerde medeniyetlerarasndaki ba, doal bir karlamayla kendini aa vuruyor. nsann konumu zerinekaa yorulan tm bu mekanlarda kadim ile modernin bulumas olanakl. Bylece bu labi-rentlerde barok ve rnesans yaplarn, yz yl lar sren Babilli bir ehir karmaas iinde s-ralandn gryoruz -en byk mucizeler, kendi gzlerimizle grebildiklerimiz deil mi-dir. Birbiriyle uyum ve atma ierisindeki pek ok srad gereklii, ancak dncelerde

ve resimlerde bulunabilecek bir ek lik iinde kaynam olarak alglayabiliyoruz.Ne iinde yaadmz medeniyetle bir kavgas, ne de ncekileriyle bir tartma-

s vardr. Dahas antik uygarlklarn, insann kendi rntlerine uygun olarak yarattne varsa onun beenisi vurgulanmtr. Bu resim, tpk bir zamanlar olduu gibi, ierisin-de insan varlnn kalc bir sembol olan ehre kar gl bir ball da saklayan birmedeniyetler ann ortasnda yer almaktadr. Svetlana Dragojevic, bir ehri kavramannsunduu olanaklarn arkndadr; her ey ehrin kvrmlarnda yaanmaktadr. Hisset-memiz ve idrak etmemiz gereken her ey onun ats altnda gerekleir. Bu kentsel top-yalar, ite bu nedenle, antastik bir dizinin, zgn bir zaman ve mekan algs ilevi gren

bir dzenin ierisinde yer alrlar. Hayrl ve eytani olan, kendisiyle yakndan ilgilenme-ye ya da tmyle yabanclamaya davet eden gstermelik bir tekdzelik iinde el eledirler(tam da bu nedenle her neyse odurlar, kukusuz krlgandrlar, kukusuz bir sis ve sarslanbir halsinasyon iindedirler). Bu eserler, nuz eden tasvirlerdir. Bu blnm kozmos,bizi sanatda tank olduumuz amaz yaratma hazzna daha da yaknlatrr. Bylece sa-natnn bize sunduu, her eyin olup bittii, zgrln bizi yava yava alt ettii btn-lk deneyimlerini duyumsarz. Ve sanki derinlikli iadeler, gl bir iletiimsellie de da-yanmaktadrlar.

Svetlana Dragojevicin kulland sanatsal teknikler sabrldr, akat azimlidir de.asarlanm bir poetikle ahenk iinde birbirlerini destekler. Kendimizi bu tekniklerin verenklerin ikna edici illzyonu nnde buluruz. Nazari ya da grebildiimiz uzamlar, me-taorlarn ve alegorilerin manevralar yapabilecei ideal mekanlardr; sanki ierisinde kimizaman kendimizi de grebileceimiz eylerin aa kabilecei en uygun mekanlar bulan,sanatnn ta kendisi gibidir. Eserlerde karakterlerin olmay (bu da illzyonun bir parasolabilir mi?), birbirlerine benzesinler ya da benzemesinler tpk bizi tanmlayan yz-lerimiz gibi, mekanlarn da kendilerini kendi varolularyla akladklarn dndryor.

ekrar Calvinoya ata bulunarak syleyelim, bir ehir, btn yansmalarn,

deneyimlerin ve tahminlerin gerekleebildii yerdir. Gl duygular, ehirle (ve elbetteehirlerle) kurduumuz zdeleimler, gemiin bugnle ya da dorudan gelecekle bulu-ma biimleri, gerekliin krlma biimleri -Svetlana Dragojevicin yaptlarn grdktensonra hissedeceimiz gl duygular arasndadrlar. Bu sembollerden oluan hikayedekiiadelerin zenginlii, engin bir manzara ve yoruma ak pek ok yol iaretinin yan sra,iinde gnll olarak alkonulmak isteyeceimiz bir topya yaratyor.

Pavle Goranovi


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urban utopias

Italo Calvino loved urin. He even considered it to be an ideal city or writingbecause past and uture are more expressive than present there, and because it calls orstrictness, or style. He talks about cities we seize by reading, about New York as the sim-plest city, about Paris and Rome as the cities about which too much was written. Finally,Calvino created ascinating Invisible Cities. Svetlana Dragojevics painting is being deve-loped in search o real and imagined cities. A rened philosophy o the city explaining itsbasic motives, the whole microcosmos created out o obsessive images alternately placed inspaces o reality and imagination, is omnipresent.

Svetlana Dragojevic creates an imaginary map o places appearing to her, usingthem to subtly and saely explain the world around her. Tat world is woven o diverse bu-ildings just as diverse as eelings o the world and moods toward the things going on herearound us can be in our encounters with atmospheres surrounding us and our thoughts.Tose buildings not rarely lean against each other or live quite independently attracting usin dierent ways. Te notion o the city in its ullness includes implicitly an encounter withmany, oen unpredictable, appearances; the same can be said or these works.

Tere are many planes o the city - several levels o the painting - while the ull-

ness o colour convincingly points out certain colours o a city. Tis is how entireties wellup orming again some complete orms where public and secret lie o apathetic and pensi-

ve, lazy and playul, human community is going on. And where is our place? Probably, letsparaphrase Sioran, somewhere between being and non-being, between two ctions.

In Svetlana Dragojevics artworks, thereore, some places, some landscapes, pre-vail. Tese could also be places in the heart, areas o thinking, paths o knowledge, some-times winding, and sometimes determined by regular lines. Tese are again possibiliti-es o reaching the world, ourselves, us. Tese are visions o which order and nightmare,harmony and turmoil, are compounded placed in the same environment. Tese are thetemples o existence always experienced dierently. In this demanding process, the artistskillully creates the order o symbols, builds an architecture o possible meaning. Whi-le doing this, she does not orget that the painting (that the city!) still has to wear some be-auty. Her ability to notice enables us to abandon ourselves easily to those misteries, pave-ments and lighthouses, staircases and towers, walls and squares, windows in which the seais looking itsel in the mirror... Tere, we will see the Mediterranean, as well, not necessa-rily in motives as in the distinctive sensibility o the artist.


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Both seen landscapes, as well as those reached by intuition, entered, probablywith the same intention, Svetlana Dragojevics artistic expression. Here, the connection ocivilizations unolds in natural encounter. Also, the encounter o ancient and modern ispossible in all those places where the position o a human is being pondered upon. Tus, inthese labyrinths, we are watching, or instance, baroque and renaissance structures alter-nating within urban experiences o Babylonian conusion that last or centuries - as thou-

gh the greatest miracles are not those we can see with our own eyes. We are able to percei-ve so many unusual realities, harmonious and conronting, sorted into One; a place shouldbe ound or them in thoughts and in paintings.

Tere is no argument with the civilization we live in, nor discussion with the pre-vious ones. Moreover, appreciation o ancient civi lizations, o everything created by manbased on his own pattern, is emphasized. Tis painting is, as it were, in the network o ci-

vilizations which includes implicitly a strong aliation to the city, as a permanent sym-bol o human existence. Svetlana Dragojevic is aware that comprehension o the city oers

various possibilities; everything is experienced in its meanders. Everything we should eel

and comprehend is happening under its vaults. Tese urban utopias are, thereore, in a an-tastic series, in a sequence unctioning as authenticated sense o space and time. Good andevil go along in their own routine under acades (and that is the reason they are the waythey are, apparently ragile, apparently in a mist and in swaying hallucination), calling orcuriosity or complete alienation. Tese are images o penetration. Te separated cosmosbrings us closer to reliable delight by the act o creation we recognize in the artist. So, weeel the presented experience o entireties, where all things happen, to be our own we eelthat reedom overwhelms us slowly. And as the proound expression based also on strong

communicativeness.Svetlana Dragojevics artistic methods are patient but resolute. Tey back each ot-her up, harmonizing with the ormed poetics. We stand beore these techiques and coloursas convincing illusions. Hypothetical and seen spaces are ideal places or the maneuver ometaphors and allegories, as the artist is the one who nds landscapes suitable to expressthe things in which all o us can sometimes recognize ourselves. Even the prevailing lacko characters (or is it also a part o an illusion) leads one to think that the spaces explainthemselves with their own existence, being aces o people, similar and opposed, but tho-se we identiy ourselves with.

A city is, lets cite Calvino again, the symbol where all refections, experiences, andpresumptions can be placed. As well as strong emotions, experienced identications with acity (cities, o course), the ways the past enters the present or directly the uture, the ways othe reraction o reality we will eel aer the artworks o Svetlana Dragojevic are seen. Terichness o expression in this story o symbols makes or vast landscapes and brings manyroad signs to be interpreted, as well as the choice to be voluntarily detained in this utopia.

Pavle Goranovi


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slike resimleripaintings

urbana utopija ehir topyas urban utopia

akrilik na platnu tuval zerine akrilik acrylic on canvas60x40cm


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novi vavilon

akvarel

yeni babilon

suluboya

new babilon

watercolours

80x120cm


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plava kula

kombinovana tehnika

mavi kule

kark teknik

blue tower

mixed media

80x120cm


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urbana utopija

akrilik na platnu

ehir topyas

tuval zerine akrilik

urban utopia

acrylic on canvas

60x40cm


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crtei izimleridrawings


crtei tu/pero izimler kalem/mrekkep drawings pen/ink28x34, 55x60cm


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biografja biyografbiography

Svetlana Dragojevi

Roena u Kotoru 1968, Crna Gora. Zavrila Fakultet restauracije i konzervacije i Likovnuakademiju 1992. Studijski 7 godina boravila u Londonu i na Malti. lan ULUCG od 1999.

Nagrade:- Kraljevski Institut Slikara Akvarelista, London, 1997- Nagrada za najbolju sliku Londonske regije, Laing Art, London, 1998- Nagrada W&N Young Artist, Kraljevski Institut Slikara, London, 1998- Memorijalna Nagrada Agnes Reeve za najbolju sliku izlobe, Chelsea, Umjetniko

Udruenje, London, Velika Britanija, 1998- Nagrada Podgorikog likovnog salona za najbolju sliku, Podgorica, 2006- Nagrada VII Internacionalnog Bijenala akvarela, Zrenjanin, 2007

Svetlana Dragojevi

1968 ylnda Karadan Kotor kentinde dodu. Gzel Sanatlar Fakltesi ile Restorasyon veKonservasyon Blmlerinden mezun oldu. Yaamnn ve almalarnn bir blmn yediyl boyunca Londrada ve Maltada srdrd. 1999 ylndan bu yana ULUCG yesidir.

- Winsor Newton, Kraliyet Suluboya Ressamlar Enstits, Londra, Birleik Krallk, 1997

- En yi Resim dl, Londra Blgesi, Laing Sanat Yarmas, Londra, Birleik Krallk,1998

- W&N Gen Sanat dl, Kraliyet Suluboya Ressamlar Enstits, Londra, BirleikKrallk, 1998

- En yi Resim Agnes Reeve An dl, Chelsea, Sanat Birlii, Londra, Birleik Krallk, 1998- En yi Resim, Podgorica Sanat Salonu, Karada, 2006- VII. Uluslararas Suluboya Bienali dl, Zrenjanin, Srbistan, 2007


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Svetlana Dragojevi

Born in Kotor 1968, Montenegro. Graduated at the Faculty or Restoration and Conservation and Academy oFine Arts. Lived and worked 7 years in London and Malta. She is the member o ULUCG rom 1999.

Awards- Winsor Newton, Royal-Institute o Painters in Watercolours, London, UK, 1997- Best Picture Award London Region, Te Laing Art Competition, London, UK, 1998- W&N Young Artist Award, Royal Institute o Painters in Watercolours, London, UK, 1998- Best Picture Agnes Reeve Memorial Award, Chelsea, Art Association, London, UK, 1998- Award or best painting, Podgorica Art Salon, Montenegro, 2006- Award o the VII International Biennal o Watercolours, Zrenjanin, Serbia, 2007


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Samostalne- Galerija Centar, Podgorica, 1999- Galerija V. Lekovi, Bar, 1999- Galerija Kula Balia, Ulcinj, 1999

- Galerija Arcade, Budva, 1999- Galerija J. B. Benkovi, Herceg Novi, 1999- Galerija Centar za kulturu, Kotor, 2000- Galerija Sveti Stean, Sveti Stean, 2001- Galerija St. James Cavalier, La Valetta, Malta, 2004- Galerija Stari Grad, Kotor, 2005- Galerija Picture House, La Valetta, Malta, 2005- Galerija Stari grad, Kotor, 2006- Mali likovni salon, Novi Sad, Srbija, 2007- Galerija Bua, ivat, 2007- Santa Marija in Punta, Stari Grad, Budva, 2007

- Umjetniki paviljon, Podgorica, 2008- Galerija Pizana, Podgorica, 2010

Grupne izlobe- Art House Gallery, London, St. Michels, godinja izloba, 1996- Mall Galleries - Kraljevski Institut Slikara Akvarelista, London, 1997- Mall Galleries - Laing Art Competition, London, 1997- Mall Galleries - Kraljevsko Udruenje Britanskih Umjetnika, London, 1997- Chelsea own Hall - Chelsea Umjetniko Udruenje, London, 1997- Mall Galleries - Kraljevski Institut Slikara Akvarelista, London, 1998- Mall Galleries - Laing Art Competition, London, 1998

- Mall Galleries - Kraljevsko Udruenje Britanskih Umjetnika, London, 1998- Chelsea own Hall - Chelsea Umjetniko Udruenje, London, 1998- Moderna Galerija Autoportret u Crnogorskoj umjetnosti, Podgorica, 1998- radicionalna Izloba ULUCG, Podgorica, 2000- Paviljon ULUCG 27 Mladih, Podgorica, 2000- Deutsche Welle - Savremena Crnogorska Umjetnost, Keln, Njemaka, 2000- radicionalna Izloba ULUCG, Podgorica, 2001- Galerija KIC Budo omovi Akvarel , Podgorica, 2002- radicionalna Izloba ULUCG, Podgorica, 2002- radicionalna Izloba ULUCG, Podgorica, 2003- V Bienale Akvarela, Zrenjanin, Srbija, 2003

- Muzej Grada Skoplja etiri Savremena Crnogorska Slikara, Makedonija, 2003- Atina Savremeni Crnogorski Slikari, 2003- radicionalna Izloba ULUCG, Podgorica, 2004- Balkan House - Olimpijada, Atina, Grka, 2004- Hercegnovski Zimski Salon, Herceg Novi, 2005- radicionalna Izloba ULUCG, Podgorica, 2005- Galerija Picture House Vision o Malta, La Valetta, Malta, 2005- Galerija Art Akvarel, Podgorica, 2005- Salon d Automne, Pariz, 2005.- radicionalna Izloba ULUCG, Podgorica, 2006- Savremena Crnogorska Umjetnost, Be, Austrija, 2006

- Chelsea own Hall, London, 2006- radicionalna Izloba ULUCG, Podgorica, 2007- VII Bienale Akvarela, Zrenjanin, Srbija, 2007- radicionalna Izloba ULUCG, Podgorica, 2008- Galerija Velia Lekovi, I Generacija Likovne Akademije, Bar, 2008- Crnogorska Savremena Umjetnost, Bijelo Polje / Pljevlja, 2009- radicionalna Izloba ULUCG, Podgorica, 2009- radicionalna Izloba ULUCG, Podgorica, 2010- Crnogorska Savremena Umjetnost, Berane, 2010- radicionalna Izloba ULUCG, Podgorica, 2011


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sergilerKiisel Sergiler

- Galeri Centar, Podgorica, Karada, 1999- Galeri V. Lekovic, Bar, Karada, 1999- Galeri Kula Balsica, Ulcinj, Karada, 1999

- Galeri Arcade, Budva, Karada, 1999- Galeri J.B. Benkovic, Herceg Novi, Karada, 1999- Galeri Kulturni Centar, Kotor, Karada, 2000- Galeri Sveti Stean, Sveti Stean, Karada, 2001- Galeri St. James Cavalier, La Valetta, Malta, 2004- Galeri Stari Grad, Kotor, Karada, 2005- Galeri Stari Grad, Kotor, Karada, 2006- Mali Likovni Salon Obsessive Image, Novi Sad, Srbistan, 2007- Galeri Bua, ivat, Karada, 2007- Santa Maria in Punta, Budva, Karada, 2007- Umjetniki Paviljon, Podgorica, Karada, 2008- Galeri Pizana, Podgorica, Karada, 2010

Grup Sergileri- Art House Gallery, St. Michels, yllk sergi, Londra, 1996- Mall Galleries - Royal Institute o Painters in Watercolours, Londra, 1997- Mall Galleries - Laing Art Competition, Londra, 1997- Mall Galleries - Royal Association o British Artists, Londra, 1997- Chelsea own Hall - Chelsea Art Society, Londra, 1997- Mall Galleries - Royal Institute o Painters in Watercolours, Londra, 1998- Mall Galleries - Laing Art Competition, Londra, 1998- Mall Galleries - Royal Association o British Artists, Londra, 1998- Chelsea own Hall - Chelsea Art Society, Londra, 1998- Modern Galeri Karada Sanat Selportreture, Podgorica, 1998- radicional Sergisi ULUCG, Podgorica, 2000- Pavilion o ULUCG 27 Mladih, Podgorica, 2000- Deutsche Welle - ada Karada Sanat, Keln, Germania, 2000- radicional Sergisi ULUCG, Podgorica, 2001- Galeri KIC Budo omovi Watercolour, Podgorica, 2002- radicional Sergisi ULUCG, Podgorica, 2002- radicional Sergisi ULUCG, Podgorica, 2003- V Suluboya ile Bienali, Zrenjanin, Srbistan, 2003

- Skopje City Museum 4 ada Karada Ressamlar, Macedonia, 2003- Atina ada Karada Ressamlar, 2003- radicional Sergisi ULUCG, Podgorica, 2004- Balkan House - Olimpiade, Atina, Greece, 2004- Hercegnovski Zimski Salon, Herceg Novi, Karada, 2005- radicional Sergisi ULUCG, Podgorica, 2005- Galeri Picture House Vision o Malta, La Valetta, Malta, 2005- Galeri Art Watercolour, Podgorica, 2005- Salon d Automne, Pariz, France, 2005.- radicional Sergisi ULUCG, Podgorica, 2006- ada Karada Sanat, Viyana, Austria, 2006

- Chelsea own Hall, Londra, 2006- radicional Sergisi ULUCG, Podgorica, 2007- VII Suluboya ile Bienali, Zrenjanin, Srbistan, 2007- radicional Sergisi ULUCG, Podgorica, 2008- Galeri Velia Lekovi, I Sanat Akademisi retimi, Bar, 2008- radicional Sergisi ULUCG, Podgorica, 2009- ada Karada Sanat, Bijelo Polje / Pljevlja, 2009- radicional Sergisi ULUCG, Podgorica, 2010- ada Karada Sanat, Berane, 2010- radicional Sergisi ULUCG, Podgorica, 2011


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exhibitio

nsINDIVIDUAL EXHIBIIONS

- Gallery Centar, Podgorica, Montenegro, 1999- Gallery V. Lekovic, Bar, Montenegro, 1999- Gallery Kula Balsica, Ulcinj, Montenegro, 1999

- Gallery Arcade, Budva, Montenegro, 1999- Gallery J.B. Benkovic, Herceg Novi, Montenegro, 1999- Gallery Kulturni Centar, Kotor, Montenegro, 2000- Gallery Sveti Stean, Sveti Stean, Montenegro, 2001- Gallery St. James Cavalier, La Valetta, Malta, 2004- Gallery Stari Grad, Kotor, Montenegro, 2005- Gallery Stari Grad, Kotor, Montenegro, 2006- Mali Likovni Salon Obsessive Image, Novi Sad, Serbia, 2007- Gallery Bua, ivat, Montenegro, 2007- Santa Maria in Punta, Budva, Montenegro, 2007- Umjetniki Paviljon, Podgorica, 2008- Galery Pizana, Podgorica, 2010

Group Exhibitions- Art House Gallery, St. Michels, annual exhibition, London, 1996- Mall Galleries - Royal Institute o Painters in Watercolours, London, 1997- Mall Galleries - Laing Art Competition, London, 1997- Mall Galleries - Royal Association o British Artists, London, 1997- Chelsea own Hall - Chelsea Art Society, London, 1997- Mall Galleries - Royal Institute o Painters in Watercolours, London, 1998- Mall Galleries - Laing Art Competition, London, 1998- Mall Galleries - Royal Association o British Artists, London, 1998- Chelsea own Hall - Chelsea Art Society, London, 1998- Modern Gallery Selportreture in Montenegrin Art, Podgorica, 1998- raditional Exhibition o ULUCG, Podgorica, 2000- Pavilion o ULUCG 27 Mladih, Podgorica, 2000- Deutsche Welle - Contemporary Montenegrin Art, Keln, Germanz, 2000- raditional Exhibition o ULUCG, Podgorica, 2001- Galery KIC Budo omovi Watercolour, Podgorica, 2002- raditional Exhibition o ULUCG, Podgorica, 2002- raditional Exhibition o ULUCG, Podgorica, 2003- V Biennale o Watercolour, Zrenjanin, Serbia, 2003

- Skopje City Museum Four Contemporary Montenegrin Painters, Macedonia, 2003- Athens Contemporary Montenegrin Painters, 2003- raditional Exhibition o ULUCG, Podgorica, 2004- Balkan House - Olimpiade, Athens, Greece, 2004- Hercegnovski Zimski Salon, Herceg Novi, Montenegro, 2005- raditional Exhibition o ULUCG, Podgorica, 2005- Gallery Picture House Vision o Malta, La Valetta, Malta, 2005- Gallery Art Watercolour, Podgorica, 2005- Salon d Automne, Pariz, France, 2005.- raditional Exhibition o ULUCG, Podgorica, 2006- Contemporary Montenegrin Art, Wienna, Austria, 2006

- Chelsea own Hall, London, 2006- raditional Exhibition o ULUCG, Podgorica, 2007- VII Biennale o Watercolour, Zrenjanin, Serbia, 2007- raditional Exhibition o ULUCG, Podgorica, 2008- Gallery Velia Lekovi, 1st Generation o Academy o Art, Bar, 2008- raditional Exhibition o ULUCG, Podgorica, 2009- Contemporary Montenegrin Art, Bijelo Polje / Pljevlja, 2009- raditional Exhibition o ULUCG, Podgorica, 2010- Contemporary Montenegrin Art, Berane, 2010- raditional Exhibition o ULUCG, Podgorica, 2011


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OrganizatoriOrganizatrler

Organizers

Direktor Zavoda za meunarodnu saradnjuUluslararas birlii Direktr Ajans

Director o Agency o International Cooperation

Autor projektaKratr

CuratorKoordinator projekta

Proje KoordinatrProject coordinator

IzdavaYaymc

Publisher

ekst

Yazarext by

rke eviri

English translation

FotograjeFotorafar

Photo

tampaBaskPrint

iraBask saysCirculation

Vlada Crne Gore / Zavod za meunarodnu saradnjuKarada Hkmeti / Uluslararas birlii BlmTe Government o Montenegro / Agency o International CooperationPodgorica, Njegoeva 2, Crna Gora

Altnsoy Cad. No:3 06101 Shhye, Ankara, RKYE

dr Dervi Selhanovi

Regina de Dominicis

Slavica Perovi, samostalni savjetnik za kulturuKltrel ibirlikleri iin Kdemli DanmanSenior adviser or cultural cooperations

Zavod za meunarodnu saradnjuUluslararas birlii BlmAgency o International Cooperation

Pavle Goranovi

Cer Modern

Valentina ukovi aranoviDuko Miljani

AP Print

500

Podgorica / Ankara / jun/haziran/june 2011.


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Documents

Urbana Utopija 2011