Đorđije Crnčević retrospective exhibition Flows of Artistic Inspiration by Rajka
Bošković, PhD, presents the most important works from the opus of Đorđije
Crnčević created during almost five decades of his work, starting from his
first creations in 1962 to his last in 2012. The exhibition held at the
Heritage House from 24 November to 20December 2015 was organised by the Museum
of Contemporary Art in Belgrade.
but uncompromisingly, the unobtrusive and dedicated search as well as the
sincere rapport with his inner being, lead Đorđije Crnčević to create an
authentic artistic opus, which in his best works undoubtedly joined the
pinnacles of contemporary sculpture.
diverse artistic expression of Crnčević’s overall opus shows certain “flows”
(or courses) – enduring, uninterrupted and very firmly grounded and present in
his undoubtedly free, open and unhindered artistic expression. The most
striking “flow”, where the state of anguish, being lost and trapped prevails in
the most literal, spatial, as well as the figurative and symbolic sense, can be
found in his earliest graphics: from The Cosmogymnasts (1975) to his last sculptures Compressions
of Time. There
is another completely opposite “flow”, which parallels this one – the course of
the lyrical and poetic spirit in a series of sculptures which in an exceptional
way reach the shaping of the heights of poetic inspiration (The Head of the Artist)
and the monumentalisation of the state of closeness (Two Heads).
completely separate, however extremely expressive and unyielding “flow” can be
found in the Portrait of Solzhenitsyn which was, according to the artist,
created “as a reaction to anguish and hindrance – restraint”; as a form of
remembering and being reminded of Solzhenitsyn who relentlessly criticized both
the heartlessness of the (Soviet) regime, as well as the superficiality of (American)
materialism based on their spiritual desolation. The portrait of Solzhenitsyn
in Crnčević’s art becomes a symbol of (mute) resilience and the verbalism of
silence. Bearing the dignity of character (in a convincing expression of the
state of timelessness) these sculptures materialize the idea of the
indestructibility of the spiritual forces of man.
surrendering to very different and at first glance almost unrelated ideas
throughout his artistic production, Crnčević travels the “road” from the idea
of mute horror and expression of anguish, to the idea of (mute) resilience and
(quiet) resistance; from a state of horror to a state of spiritual serenity and
unwavering faith in the might and transformative power of the spiritual life of
not only the individual but of society as a whole.
constant turmoil between those two artistic approaches, two poetics, two
spiritual states that do not cancel or destroy one another, but, on the
contrary, in alternation encourage one another, contributed to the creation of
an extremely meaningful and diverse artistic opus, which undoubtedly marked the
contemporary art scene of the late 20th and early 21st century.
exhibition display 102 works – sculptures, paintings, drawings and
1941 – Belgrade, 2013)
the Acadmey of Fine Arts in Belgrade, sculpture department, and postgraduate
studies in the class of professor Miodrag Popović in 1972. He was a member of
ULUS (The Association of Fine Artists of Serbia) since 1968 and a member of the
10+ Group (from 1976). As professor at the Higher School for Fine and Applied
Arts in Belgrade he tought sculpting as a subject from 1991-2008. Besides
sculpture he worked in graphics and painting.
been exhibiting as solo artist since 1969. He has had over 20 solo
exhibitions in Serbia and abroad, and has participated in numerous group
exhibitions organised by: ULUS, October Salon, PROSTOR (SPACE) exhibition,
Graphics of the Belgrade Circle, Biennale of small plastics (Murska Sobota),
in symposia and colonies: Aranđelovac
(“Marble and Sounds”), Portorož (sculpture symposium “Forma Viva”), Graz (XVI
INTERNATIONAL Melernjochen in der Steirmark), Herceg Novi (Art Colony Nikšić);
Bor (“Copper“ Art Colony); Kikinda (International Sculpture Symposium “Terra”),
Vladimirci (Art Colony Jalovik), Tutin (Black River Art Colony) and others.
Awards: the “Sreten Stojanović” sculpture fund
(1968); the “The Soldiers as Painters” exhibition JNA, Belgrade (1969); Youth
Colony, Ivanjica (1970); XV Exhibition of the Art Colony in Ečka; awards at the
exhibition PROSTOR (SPACE) ‘78 (1978); purchase prizes at the Fourth Biennial
of Small Sculpture, Murska Sobota (1979); awards at the I Biennial of Drawings
and Small Plastics, Belgrade (1993), Grand Prize of ULUS (1997); ULUS Autumn
Salon Awards (2009), and others.
in free space: Poet, 1975
(Danilovgrad, Montenegro), Two Heads, 1978
(Dimitrovgrad), Two Heads II, 1978
(Belgrade), Portrait of the Poet, 1981
(Portorož, Slovenia), Totem, 1989 (Kikinda), Rider,
1999 (Sremska Mitrovica), Two Poets, 2008 (Karan Sebes,
Romania), The Head of a Poet, 2011
the collections of: the
Museum of Contemporary Art (Belgrade), the Academy of Fine Arts (Belgrade), the
National Museum (Cetinje), the National Museum (Kikinda), Zepter Museum
(Belgrade), Neuue Galerie (Graz), the Gallery of the Cultural Center (Paraćin),
the Modern Gallery of the Art Colony Ečka (Ečka), the Modern Gallery (Niš),
Associate Rajka Bošković, PhD, Head of the Museum of Contemporary Art in
Belgrade Collection of Sculpture, curated and conceptualised the exhibition set
up, and is exhibition catalogue author.