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Tender Talk

 R. Lizdek, B. Milanovic, S. Rupic

Vanessa Karre





31.03. - 10.04.2017


Malerei, Zeichnungen, Objekte

Radmila Lizdek

Branko Milanovic

Savo Rupić











Radmila Lizdek’s art of expressive lyricism painting, created by the power of the colour and by rhythmical cadences, represents a connection between the artist and the nature, between the perception and abstraction, between the space and life’s duration within it, whereby the artist’s spiritual and sensitive states get reflected in every stroke




In search for the adequate title of the work cycle that has preoccupied him over the last couple of years, Branko Milanović came to a stop facing a complex and obligatory term – Reflections. Commonly perceived as exact and mathematically prescribed, reflections, per definitionem, reveal the worth capacity of the self in the world of profound preconceptions, the ones which take as irrevocable truth the existence of a seam tight enough to join two optical fields into a whole. Consequently, the real, tangible world is nothing but an implied shiver of the reflection of the self, a picture, the two-dimensionality of which we believe in being driven by someone else’s blatant horror. A perfect projection is the obligatory prerequisite of the entire episteme blankly looking into the uncertain “I” glued onto the smoothed surfaces of discursive flections. Milanović’s Reflections/ reflections, undoubtedly, abound with overspilling awareness that a mirror is not a harmless fact, and that only the determined and distrustful end up behind it. (The introductory part of the text by Dr Dragan Ćihori written for the “Branko Milanovic ’s Reflections” exhibition.) The drawings within the “Reflections” project radiate the simplicity of the forms modelled in almost constructivism-like fashion, and of the surfaces of multiple elements in search for the composition balance within the format. Each element “requires” the presence of the other so as to justify its own existence, exploring through various factures and structures, hinting at the potential of various materials, aiming to draw attention to the potential of the object.


Looking for inspiration in architecture, in the fragmented, memorized and seen, setting the idea of tolerance through the folded surfaces and hachures, hinting at the atmosphere and ambiance that determine man on the grounds of the acquired and seen in time, there emerges the need for not “concealing” but, actually, for “revealing” these structures.




Savo Rupić: I do classical painting, following an inner feeling for composition, color, rhythm with intention of achieving unity within the paintings. I find my motives in my surroundings, nature, landscapes, pieces of landscapes reduced beyond recognition, and sacrificing the realistic interpretation of the painting, bringing it to the point of associative abstraction. I strive to preserve the sensuality and sensitivity on my paintings, for the content and color and to reach with a kind of a spontaneous rhythm in drawing, a whole which vibrates and creates a living connection with my inner world. My starting motive only serves as a basis and affects me with inspiration only if some parts of the motive influence my emotions with great significance in a certain moment, through some artistic elements, composition, color, content, atmosphere etc. Because the motive only serves as a starting point, painting becomes a real adventrue in which I sometimes find the path to the painting, and sometimes not. I aspire to bring the peace and restlessness that I have within me to harmony, and establish a connection with the world in a new way.

Savo Rupić