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“FIGURATIVE-PORTRATI ENTUTY OF ALEKSANDAR STANOJEVIĆ” Solo exibition, Cultural Center Indjija, April, 2019 Text by Biljana Jotić, Art Historian

Aleksandar Stanojevic (1992) belongs to the younger generation in the field of visual creativity. He graduated from the Academy of Arts in Novi Sad, in the class of prof. Basil Zirojevic Lecic. His developmental path is characterized by an active attitude towards work that moves biographically since his student days. He exhibits at numerous group exhibitions and independently, from the gallery spaces of the City Library in Paracin, MOST in Novi Sad, the Cultural Center in Zrenjanin, Vrbas, Indjija, the SASA branch in Novi Sad to alternative spaces of the LAB Cultural Center in Novi Sad and the Street Gallery in Belgrade. Although practically at the beginning of his artistic journey, he has been awarded several times so far (Highlights: First Prize on the Look Around, Educate and Do Project, CROS-EDUC, 2010-11; First Prize at the Palette of Youth Festival, KC Vrbas, 2018). Actively participates in national and international biennials (Biennial of Small Student Drawings of Serbia), projects (Summer Academy of Fine Art, Salzburg, Austria, 2017; Erasmus Student Exchange Program, Facultad Bellas Artes, Alonso Cano, Universidad de Granada, Spain, 2018: the project marking the 120th anniversary of the birth of painter Milan Konjovic, the film Sun, Grain, realized by the Academy of Arts in Novi Sad, directed by Milan Nikic, produced by the Pavel Beljanski Memorial Collection), art colonies (Art Colony Sid, CC Sid, 2015 and 43 international fine arts colony of Grza, 2018). He is also a mentor and visual educator of the Student Colony in Grza, Paracin. He lives and works in Novi Sad.

In the delirium of artistic creation of the postmodern era, characterized by many variables already seen, Alexander turns to figural form and portrait. In reduced expressive compositions, spatial neo – finesse concentrates the content and encapsulates it into monolithic shaped portraits of dark suggestive game. The visible immediacy of his encounter with the paper or the canvas as if passed on to the observer, introducing into the content concept opens a new relation to the space of direct communication. As I got acquainted with Alexander’s work, the question was, what is it that these forms hide and who do they represent? They are not portraits of persons, beings, individuals, they are shaped forms of portraiture of one time, generational flow, personal experience of events of historical stopping of flows, experiences of wars, change of political power, inflation, inability for cultural and educational advancement, nostalgia for all that shapes one personality. While flashing compassion for the painful content of the conceptual portraiture of art, in the inner need for expression and expression of personal sensibilities, I would seek expressive artistic specificity and the developmental path of visual recognition of Alexander’s artistic personality, in opposition to any comparative methods to the tradition of portraiture.


Biljana Jotic, art historian
Belgrade, March 2019
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