ИЗЛОЖБА СЛИКА ЂОРЂА СТАНОЈЕВИЋА

ИЗЛОЖБА СЛИКА ЂОРЂА СТАНОЈЕВИЋА

Ђорђе Станојевић је један од најистакнутијих савремених српских визуелних уметника и професора, препознатљив по свом специфичном и радикалном приступу сликарству који директно повезује уметност и екологију. Након успешне каријере арт директора у свету адвертајзинга Станојевић је направио потпуни преокрет, напустивши градски темпо и потпуно се посветио креирању унутар и уз помоћ саме природе.
Филозофија као и методологија његовог рада гласи „Сликати као природа“.

Он сматра да не треба сликати мотиве из природе, већ стварати на исти начин на који природа ствара. Његова дела настала су под отвореним небом, напољу без обзира на временске прилике. Платно поставља хоризонтално на саму земљу и започиње процес наносећи природне пигменте, а затим допушта природи да доврши слику. Киша испира боју, сунце је суши, ветар наноси честице. Слика прераста у дијалог уметника и природе. Поред пигмената он користи и несликарске материјале попут блата, сламе, пиљевине, пепела, балеге. Ти материјали у себи носе енергетски код простора на коме настају.
Нови циклус радова Ђорђа Станојевића „Фрактали“ представља природан, али и фасцинантан естетски корак напред за овог истакнутог српског уметника. Познат по свом дубоком дијалогу са природом, Станојевић у овом циклусу иде корак даље – од посматрања природе прелази у мапирање њених фундаменталних закона. Оно што је за овај циклус најупечатљивије је брисање граница између микро и макро света. Текстура је изузетно наглашена. Укратко Станојевић и серија слика Фрактали представља моћну визуелну медитацију о скривеном реду у привидном хаосу природе. Она представља уметност која не имитира живот, већ користи животне процесе како би сведочила о нераскидивој вези између човека, земље и космоса.

Станојевић је оснивач и директор међународне платформе Natur and Art која се бави управо спајањем природних и уметничких процеса кроз резиденције и разне пројекте. Главно седиште и простор за рад често су лоцирани у аутентичним природним срединама у Србији али најчешће у пределима око Осечине близу Ваљева, одакле уметник вуче корене.
Његова дела се налазе у важним јавним и приватним колекцијама широм света: Музеј Цептер Београд, Национални уметнички музеј Кине у Пекингу, као и колекције у Француској, САД, Немачкој и Италији, и Галерија савремене ликовне уметности Ниш баштини његово дело после учествовања у Ликовној колонији Сићево. Дипломирао, магистрирао и докторирао је на Факултету ликовних уметности у Београду. До сада је имао преко 45 самосталних изложби. Поред уметничког бави се и педагошким радом као редовни професор на Факултету савремене уметности у Београду.

by Nebojsa

Из колекције Центра за савремену графику „Flatbed Press”

Из колекције Центра за савремену графику „Flatbed Press” из града Остина у Тексасу, у Сједињеним америчким државама. Изложбу чине 45 графика 36 америчких уметника различих генерација. 

Flatbed Press – центар за савремену графику је основан 1989. године у Остину. То је професионални графички атеље и издавачка кућа која сарађује са више од 150 уметника из САД и иностранства. Центар је специјализиран за литографију, рељефну штампу, гравирање и експерименталне процесе који померају границе традиционалних графичких техника. Центар има властиту колекцију која броји више од 5000 графичких листова. Радови ове штампарске куће заступљени су у Конгресној библиотеци и водећим музејима широм Америке.

Flatbed Press је својеврстан спој отвореног атељеа и галерије јер се поред високопрофесионалног штампања бави и организацијом изложби и едукативном праксом кроз радионице и студијска путовања.

Оснивач, власница и директорка центра је уметница Катарина Бломбери која је сачинила избор радова за изложбу у Нишу. Госпођа Бломбери је 2019. године била гост нишког Универзитета, када су успостављени контакти са Галеријом савремене ликовне уметности посредством професора Слободана Радојковића. Сада ће у Нишу боравити Џошуа Орсборн водећи графички штампар у Центру, који руководи интерактивним пројектима и програмима стажирања пружајући обуку студентима и младим графичарима. Он ће 27. маја студентима Факултета уметности у Нишу представити свој опус и активности центра.

Нишка галерија је далеке 1972. године први пут приредила изложбу „Америчке графике“ коју су чинила дела Раушемберга, Де Кунинга, Стеле, Лихтенштајна... Ова изложба такође садржи дела реномираних уметника међу којима су: Тери Ален, Мигуел Арагон, Бејли Лиу, Лилијан Портер...

Изложба ће трајати до 1. јуна.

by Nebojsa

RANKA RADOVANOVIĆ

DISTANCING

RANKA RADOVANOVIĆ

23. АПРИЛ - 19. МАЈ 2026
ПАВИЉОН У ТВРЂАВИ

(UN) NATURAL DISTANCE
The cycle of paintings by Belgrade artist Ranka Radovanović is called “Distancing”, as the paintings primarily depict interior segments that create a distance between man and nature. These scenes establish a boundary between the landscape and the large glass surfaces of the apartments through which we observe it. It feels as though the cold would rush in the moment a window was opened. Yet, this is not that pleasant morning chill one welcomes wrapped in a blanket with a cup of tea. The coldness in these oil paintings is almost metaphysical. The urban individual seeks to escape the nightmarish clamor of big cities and traffic, but only for a weekend, without the actual responsibilities and expenses that living in nature demands. He seeks an instant solution for happiness and health. One such solution is renting  luxury apartments in nature – being outside the city, yet still safely removed from mud, insects, and wild animals. A true return to nature is inseparable from a return to oneself, yet, few have
courage for such a challenge. The comfy “armchair traveler” is not ready for deprivation or selfdenial. The composition of Radovanović’s large-scale painting titled “Apartment II” is almost entirely occupied by a grey-black curtain, drawn just enough to reveal a sliver of a mountain in the mist. What fascinates in this painting is the materialization of something as aesthetically unexciting as grey curtain. The draped curtain is rendered so skillfully that one can almost feel the texture of the fabric under his fingertips.

The painting “Apartment I” is divided into two sections by a similar grey curtain. On one side are the forest and mountains, while the other features a turquoise couch with a chandelier and large glass surfaces through which the view extends. These misty scenes viewed through the glass of minimalist apartments instill a sense of unease, almost anxiety in a focused observer, probably because the landscape is confined, standing in direct contrast to the notion of the outdoors as a symbol of freedom and infinity. There is nothing in these interiors to suggest human presence—not a breadcrumb nor a candy wrapper; nothing individual or authentic, and thus, nothing essentially human. The painting “River”, from the “Distancing” cycle, also depicts a river›s flow through the large glass surfaces of an apartment. In Radovanović’s work, a range of grey tones is present both in her interiors and her depictions of the river. Grey is also dominant in the painting titled “Sun”. Likewise, within this context, we observe the contrast between the straight lines and right angles that define the interior space and the organic lines of the hills in the distance. The sun blinks faintly, bringing in only a touch of light without any real warmth.

If we are hit by nostalgia for a childhood spent at a grandmother’s countryside home, we look for warmth, love, and freedom in paintings of nature. Such concepts cannot be found in these works. This cycle of oil paintings by Ranka Radovanović visually conveys the extent to which we, as a civilization immersed in conformism, have become alienated from nature. The feeling that overwhelms us if we observe these paintings a little longer is one of an uncomfortable emptiness, void of words and emotions; the overall impression is deeply claustrophobic. The depictions on these paintings resemble generated interiors that artificial intelligence might offer if we requested the perfect image of a weekend getaway apartment for a businessman returning to the stock market by Monday. The observers cannot immerse themselves in or enjoy the scene, as they subconsciously feel there is no place for them there—they simply do not fit in. Everything in these oil paintings feels like an uncomfortable and ominous simulacrum of reality.

Dragana Garić Jovičić

by Nebojsa

"Searching for the Homeland" by Zdravko Mirčeta

On Thursday, April 2nd, starting at 7 p.m., the opening of the exhibition "Searching for Homeland" by Zdravko Mirčeta will take place in the Pavilion in the Fortress. The exhibition consists of paintings from the artist's recent work.

Zdravko Mirčeta was born in 1951 in Miočić, Dalmatia. He graduated from the School of Arts and Crafts in Zagreb. He graduated in 1978 from the Department of Graphic Design at the Academy of Arts in Zagreb.

In addition to his fine art, he has also achieved notable results in the fields of graphic design, television and theater set design, and heraldry. He has designed a large number of posters, newspapers, literary publications, and other printed publications. He has received several awards for his work.

He exhibited in many cities of Yugoslavia and Serbia (Šibenik, Split, Benkovac, Zagreb, Varaždin, Knin, Dubrovnik, Trebinje, Banja Luka, Laktasi, Belgrade, Lazarevci, Kragujevac, Niš, Požarevac, Apatin, Raška), as well as abroad (Essen/ Germany; Dijon/France; Stockholm/Sweden...). He has the status of an independent artist. He lives and works in Belgrade and Stockholm.

The exhibition in Niš, since it is based on the latest paintings of Zdravko Mirčeta, represents a striking cross-section of the current poetics of the artist who has been present on our art scene for decades. Genre-oriented towards landscape, these works are stylistically and formally moving around an imaginary line between the associative and the abstract, with a greater or lesser approximation to one or the other expression. The landscape is decoded by painting means into planes of interconnected organic forms or is sublimated to the level of connecting horizontal fields. The painted matter rests on the interaction of multi-layered painted surfaces and freely placed "sharp" lines that give the entire scene a constructivist structure. The degree of illusoryness grows at the expense of physical persuasiveness. The diversity of motifs causes expressive - creative amplitude, so the stroke varies from energetic and fast to calm and controlled, and the achieved atmosphere from dramatic to lyrically elegiac. In a word, the landscape is transformed into a complex emotional, symbolic and visual experience. The title of the cycle itself (Searching for Homeland) and the personal fate of the artist, who, due to the disintegration of the former country, was displaced from his own homeland (Dalmatian hinterland and Knin), allow the conclusion that these works, at their semantic level, imply a symbolic consideration of the issue of homeland as a cultural phenomenon and metaphorically testify to the fate of the displaced who, in their intimate emotional and thought code, strive to unite the two often opposed worlds that mark them. With the stroke of the brush, Zdravko Mirčet seems to symbolically record the dramaturgy of life.

The exhibition will run until April 21.

by Nebojsa

BENEATH THE SURFACE

Vukašin Stanković

BENEATH THE SURFACE

Vukašin Stanković’s artistic practice has been developing for a decade as a continuous and consistent exploration of the psychological state of the symbol, using the expressive potential of the medium of classical painting. Starting from modeling as a key artistic and conceptual pillar, the artist builds complex visual narratives in which personal, internal states gradually intertwine with broader social, political and cultural frameworks. Therefore, his paintings do not try to illustrate reality, but to critically reflect
on a world in which tensions, fears, forms of control, manipulation and violence have become an integral part of everyday life. During his formative years, Stanković was shaping his paintings on a clearly defined poetics of the body, initially through the subject matter primarily conditioned by personal experiences, only to be expanded and supported by broader social contexts later. Consequently, the theme of his previous body of work “Shadows and Depths”, exhibited in 2016 at the ULUS Gallery in Belgrade, is marked by the artist’s long-term water polo playing. Through depictions of bodies in motion/at rest, the author wanted to present the spiritual effort that accompanies the physical effort of athletes in achieving new levels of endurance of the human body, in order to enter the demanding world of water polo, and to present the experienced beauties and dangers of the sport itself.

The development of his further expression is characterized by a gradual transformation, in which ideas, formal procedures and conceptual interests are naturally transferred from one phase to another. Namely, as the artist himself emphasizes, the symbol of his work remains “the foundation and creator of everything”, while its evolution follows the changes of the author and the world he lives in. It is through this variability that the artist opens up space for reflection on human nature, primarily in the context
of psychological relationships that an individual, consciously or unconsciously, establishes with the systems that surround him. The new body of work “Beneath the Surface” represents a continuation of these analyses, with a clear focus on reflecting on contemporary social phenomena: alienation, social anxiety, aggression, violence, as well as institutionalized mechanisms of control and media manipulation. These phenomena are not depicted directly, but are visually summarized in allegorical scenes of strong dramatic intensity. Although deeply rooted in subjective experience, they deal with the ways in which personal states, behavioral patterns and relationships formed in intimate settings, such as family, are transmitted, multiplied and mirrored within social structures and systems of power.

The range of themes that Stanković depicts is based on elements of everyday life, with the man at the center. However, the forms in the paintings are not portraits of specific people, but rather carriers of certain states. Their identity remains unspoken, and their faces often appear personified or masked, which emphasizes the distance between the individual and the group. They take on the roles assigned to them, participating in repetitive patterns of behavior. In certain works, recognizable political actors,
national flags, as well as symbolic elements such as arches, balloons, etc., appear, whereas particular place is assigned to cartoon characters, which are introduced as part of the collective memory of childhood, but placed in an altered, often disturbing context, where they lose their innocence and become carriers of learned identities and values. Consequently, the spaces in which the figures are placed are most often closed, shallow, or vaguely defined. They also do not function as realistic depictions of specific places, but rather as psychological and social frameworks that reinforce feelings of pressure, tension, and confinement. The colossal dimensions of these planes and the dominance of black, on the one hand, and the intense color palette, on the other, further enhance the tension of the scene. Fragments of bodies and shapes emerge from the dark, almost abstract space, whose form is simultaneously shaped and dissolved by light. The physical is decomposed into masses, lines, and colors, and the distinct tension on the canvas is the result of the continuous process of transition from form to abstraction and abstraction to formation. However, the expressiveness of Stanković’s paintings does not stem only from the dynamics of the movements of the depicted bodies, sudden gestures, and sharp foreshortenings, but from the painter ′s stroke itself, as well. In addition to the brush, the artist uses his hands and fingers, thus making the painting a direct hint of bodily action. Gestural imprints become a sign of the presence of the painter’s body, shifting the focus from representation to the act of painting itself as a physical and dramatic experience.

Finally, the absence of a single narrative is one of the key features of Vukašin Stanković’s work; he does not offer ready-made answers, but leaves possibility for different interpretations. The connotation is formed within the spectator’s encounter with the painting, through the recognition of his own experiences and positions within the depicted structures. As the artist himself states, at the moment when inner conflict and inner peace ”reconcile”, the painting ceases to be a place of struggle and becomes
a place of understanding, not the end of the process, but its temporary equilibrium and the basis for further exploration.

Katarina Kuč, art historian

by Nebojsa

EXHIBITION OF THE ART COLONY SIĆEVO 2024/25

by Nebojsa

PROMOTION OF THE MONOGRAPH AND RETROSPECTIVE EXHIBITION OF MIODRAG DAJA ANĐELKOVIĆ

PROMOTION OF THE MONOGRAPH AND RETROSPECTIVE EXHIBITION OF MIODRAG DAJA ANĐELKOVIC

* PAVILION IN THE FORTRESS - THURSDAY, 2 October 2025 at 7 pm

The promotion will be attended by Radmila Vlatković, museum advisor, Zvonimir Kostić Palanski, writer, Ljubiša Brković, artist and Radmila Kostić, author of the monograph

MIODRAG DAJA ANĐELKOVIC was born on 6 April 1945 in Jelasnica.

He graduated from the Academy of Fine Arts in Belgrade in 1970 in the class of Professor Miodrag Rogić. He completed his postgraduate studies at the same Academy in 1972 in the class of Professor Boško Karanović. While still a student, he participated in the conservation of churches in Kuršumlija, Tutin, Crna Rijeka, and Prizren. He was a member of the ULUS and the Society of Serbian Artists "LADA" and Group A. As a scholarship holder of the "Moša Pijade" fund, he attended professional training in Paris (1980).

In addition to participating in exhibitions, he actively participated in the artistic life of the city and wrote professional texts for "Narodne novine".

He published the textbook "On Graphic Arts" (1986), and much later published the book "Memory as an Incidental Occurrence" published by the NCC (2011).

He regularly participated in the work of the Art Colonies "Classic" (1994 - 1995), the Art Colonies "Sićevo" (1976, 1993 and 2014), and the Graphic Workshop Sićevo (2007).

Since 2018, he has been a member of the editorial board of the "Architect" newsletter of the Society of Architects of Niš. He has spent his entire working life as an expert advisor at the Institute for the Protection of Cultural Monuments in Niš.

In addition to painting and drawing, he has been engaged in essay writing and art criticism.

He has held 35 solo exhibitions and more than 300 collective exhibitions.

He has been awarded 12 times for his work. He has exhibited abroad at collective exhibitions in Lucerne, Basel, Aarau, Rheinach, Bucharest, Paris, Varna, Kuwait and Jordan.

He passed away on September 15, 2021 in Niš.

Through Miodrag Anđelković's layered oeuvre, we are introduced to a multitude of styles and techniques, following his desire to experiment, for new, more dynamic content.

In search of new challenges through the eternal dilemma between the beginning and the final form, he reduces his artistic language by taking from nature only what suits his current meditative state. During the process of creation itself, he determines the degree of expressiveness, complexity, liveliness and authenticity.

The basic idea guiding the entire creative act of Miodrag Anđelković is the creation of an authentic work of art that, in its hidden meanings, carries the truth and reality of the experienced. With a recognizable artistic language, he softens the boundaries between the visible and the invisible, confronting imaginary worlds.

Exploring new artistic paths, he forms unexplored secret passages into his own universe, combining the organic and the inorganic, the concrete and the irrational.

The motifs of his graphics, drawings, watercolors and paintings are inspired by imagination, memories, literature or everyday events, giving them dimensions of the timeless, eternal.

During the creative process, he forms his own imaginary in an original, imaginative way as a complex visual expression that stimulates various associations.

Bringing the thought and the emotion into a harmonious, mystical balance, he skillfully moves in a wide range from the figurative, through the associative, to the completely abstract.

Setting high professional standards, he always returns to pure, original visual expression.

As an accomplished artist and Eurydice, in addition to working in painting and graphic techniques, he also dealt with painting, conservation and restoration of frescoes, essay writing and art criticism.

Standing out with its carefully constructed, mature, artistic expression, the work of Miodrag Anđelković represents a significant segment in the consideration of not only Niš, but also the entire contemporary Serbian painting.

by Nebojsa

In Between

Pavilion in Tvrđava, exhibition by Mia Arsenijević – artist from Kragujevac.

The exhibition titled In Between consists of acrylic paintings and works made in the embroidery technique.

Mia Arsenijević was born in 1985 in Kragujevac. She completed her undergraduate and master's studies in painting at the Academy of Arts in Novi Sad. She received her doctorate in 2015 at the University of Arts in Belgrade. She is employed as an associate professor at the Faculty of Pedagogical Sciences in Kragujevac, teaching courses in the field of fine arts with methodology. She is also engaged at the Faculty of Arts in Niš for the course Methodology of Fine Arts Education. She is actively engaged in artistic, scientific and pedagogical work. She has exhibited her work 23 times in many cities in Serbia. She has participated in more than 50 collective exhibitions. She has won 3 awards for her artistic work. She is the author of more than 20 scientific papers in the fields of theory, art history and art pedagogy, as well as the textbook "A Brief Overview of the History of Art" intended for students of pedagogical faculties.

Encouraged by her own emotional and intellectual process, and her personal role as a mother and educator, Mia Arsenijević develops a unique artistic oeuvre, in which children are the main characters. Representing them in moments of play or various actions (skiing, walking, snowshoeing), the artist emphasizes the idea that play is for children the primary source of acquiring knowledge and experiences, establishing a relationship with reality, and not just harmless leisure, as the adult world usually perceives and interprets it. Children are generally synonymous with the primordial meaning of life and lasting values, but in Mia Arsenijević's paintings, children are depicted in an environment that is only indicated by some detail or on a simple, often monochrome background, that is, in an undefined space. Displacing the scene from concrete reality, the artist elevates her works to the metaphorical level of speaking about the antagonism between the exciting present and the uncertain future, in the context of personal but also collective concern for the fate of today's young generation.

The exhibition will run until September 11.

by Nebojsa

Double naked

Joškin Šiljan

Double Nude

paintings and drawings

Fortress Pavilion

Joškin Šiljan is exhibiting at the Gallery of Contemporary Art Niš from June 19 to July 13. The exhibition of his paintings and drawings, entitled "Double Nude", will be officially opened on Thursday at 8 p.m., at the Fortress Pavilion.

The exhibition in Niš includes works from several different cycles, and the title is due to the most recent one.

“Through his creative work, Joškin Šiljan creates new worlds, while simultaneously expressing the philosophical nature of his thoughts. His painting constantly explores pure art, which expresses freedom and spontaneity both through the iconography itself and authentic visual language, as well as through reflections and the artist’s understanding of the world, which is as such light and simple, unburdeningly fresh.”, observes art historian Ana Kršljanin, curator of the ŠTAB gallery. She sensitively concludes that the artist “swims in the limitlessness of themes, movements and beings that, with witty and long titles, give the viewer an impulse that he needs to feel and convey, allowing him to be the one who completes the picture and the story.”.

Joškin Šiljan (Nebojša Stojković, 1953, Pirot) belongs to the generation of artists who emerged on the art scene in the 1990s. He is one of the most famous and active authors on the regional art scene, and his exhibitions in world museums and galleries make him internationally visible and recognized. He is a participant in a large number of art colonies and residency programs in the country and abroad. His works are in significant museum, company and private collections around the world. He has won several significant awards, including: the Golden Palette of ULUS (2006), the Grand Prize at the 14th Biennial of Naive and Marginal Art (2009), the Main Prize for Painting on Paper OSTEN (2016), and the Golden OSTEN for Drawing (2018).

He lives and works in Grdelica.

The public can visit the exhibition of his works until August 5th, at the Pavilion in the Fortress.

by Nebojsa

GRAPHIC WORKSHOP ''SIĆEVO 2022-2024''

EXHIBITION OF GRAPHICS CREATED IN THE GRAPHIC WORKSHOP IN SIĆEVO 2022-2024, PAVILION IN THE FORTRESS

May 27 - June 22, 2025

For several years now, the Gallery of Contemporary Fine Arts Niš, as a highly professional institution in Serbia, has been organizing the Graphic Workshop in the beautiful village of Sićevo near Niš.

Initiatives to equip the graphic workshop began in 2003 at the suggestion of Slobodan Radojković, then a master of graphics employed at the Gallery. One of the rooms within the building of the Art Colony "Sićevo" was converted into a graphic workshop, when a gravure printing press was purchased.

In 2005, the Gallery of Contemporary Art celebrated the centenary of the first gathering of artists in the Art Colony in Sićevo. Soon after, all the basic funds and necessary materials for work were secured, thus creating the conditions for the first gathering of four artists in September 2006. There are multiple reasons why the Gallery decided to establish a graphic workshop. First of all, it was noted that there were only two workshops of a similar nature in Serbia: in Smederevo (Graphic Studio of the Cultural Center) and Belgrade (Centre for Graphics and Visual Research "Academy"). The Centre for Graphics and Visual Research "Academy" at the Faculty of Fine Arts in Belgrade organizes a graphic workshop whose work is focused on the preservation and popularization of graphics, as well as monitoring the development of the medium itself. It was a role model, or one could say a model, for the creation of the Sićevo workshop. Also, in Niš there is an active association of artists "Niš Graphic Circle", which contributed and gave full support to the initiative itself. One of the important reasons is certainly the awareness that the workshop will constantly contribute to the addition of the collection of graphics within the fund of the Gallery of Contemporary Fine Arts. It has been noticed that an increasing number of artists are committed to this medium, and that in addition to old graphic techniques they apply new, computer technologies, and that their understanding of graphics as a medium is much more flexible and modern.

Therefore, through the work program, the Graphic Workshop is focused, first of all, on the preservation of graphic art, but also on monitoring new tendencies of graphic print today. By popularizing this widely represented medium, the Gallery has already traditionally gathered significant names from the international artistic scene, but also follows the maturation of young authors from the graphic world. For the first three years, the Workshop was held twice a year (spring-autumn) for seven days, and since 2011 only at the end of spring.

The Graphic Workshop "Sićevo" gained an international character in 2008. So far, 90 artists from Niš, Serbia, Montenegro, Macedonia, Bulgaria, Greece, Poland, Italy, Belgium, Denmark, USA, Mexico, Canada, Italy have created and left their works for the collection of the Gallery of Contemporary Fine Arts in the Graphic Workshop.

According to the workshop's statute and propositions, each participant of the Workshop leaves two gallery-format graphics in a circulation of five prints to the Gallery of Contemporary Fine Arts, and in return, the Gallery provides the artists with all the basic means for work, as well as accommodation, food and travel expenses. In addition to working on matrices, printing graphics in the studio, exchanging experiences, and demonstrating certain techniques, excursions were also organized so that participants could get to know the surroundings and sights of Niš better. A tour of the Sićevo Gorge, a large number of monasteries located in the immediate vicinity, as well as other cultural and historical buildings of Niš from different periods, certainly completes the artists' picture of the rich past of our city.
The collection of the Graphic Workshop now includes about 200 graphic sheets. Each of the artists who participated in the work of the Graphic Workshop "Sićevo" created graphics in the spirit of their already formed artistic expression. The variety of graphic techniques is another segment of the rich palette of graphic sheets from the Gallery's collection. Many of them were influenced by the natural beauty of the Sićevo Gorge itself, so they permanently recorded their impressions of the environment through their works (Biljana Vuković, Snezana Marinković, Vladimir Vlajić, Marta Božik, Branko Nikolov, Ivana Stanković, Zoran Kostić, Michel Barzen, Bojan Živić), others found inspiration in some details of the surroundings (Velizar Krstić, Jelena Sredanović, Ljubiša Brković, Magda Krolikovska, April Wilmer, Roberto Gianinetti, Ranka Lučić Janković, Veliko Maričevski, Marija Sibinović).

Works from the graphic workshop "Sićevo" were exhibited in Niš, Prokuplje, Leskovac, Valjevo, Pirot, Sofia, Kotor, Dimitrovgrad. The good reputation of the Graphic Workshop "Sićevo" is getting louder every year and we believe in the future of this event. The support of the cultural public, colleagues, and the Ministry of Culture of the Republic of Serbia give us hope that we are on the right track.

We must add that in 2020, a screen printing press with all the accompanying elements was provided in order to expand the activities of the colony participants and enable work in other graphic disciplines. With the purchase of a new press, the studio and graphic workshop premises were further renovated with an expanded and adapted space in the building of the art colony in Sićevo, so that decent conditions were created for work on both presses.

https://www.youtube.com/watch?v=HKzmFPltaUw

by Nebojsa