The retrospective exhibition of Đorđije Crnčević Flows of Artistic Inspiration, by Rajka Bošković, museum
associate at the Museum of Contemporary Art in Belgrade, was presented in
collaboration with the National Museum of Montenegro, at the Gallery of
Montenegrin Art“Miodrag Dado Đurić”
(Montenegro) from June 23 – July 23, 2016. The exhibition 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.
Quietly, 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.
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).
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 graphics.
(Dupilо, 1941 – Belgrade, 2013)
Compelted 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
He has 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), itd.
Participation 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.
Sculptures 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,
Works in 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), etc.
Museum 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.