Portfolio
The artist cannot inhabit his truest self in any of the worldly sceneries and if having not shared his trauma, he will never be a true intimate. Therefore his places of refuge are the naturalistic, portraitistic and religious (eikons) allusions reflecting in form the essence of life’s greatness; fragility, submission and a ‘divine wrath’ which intersperses and overlays texts from John’s Apocalyptic of the Bible, poetry, philosophy, ‘hermeneia’ texts.
Mirror: Passage and Enactment of the Soul
Visual Art and Text Presentation
Polyptych. Six pieces. Nine Meters of Drawing
Mixed Media , ink, gouache, charcoal and gesso on paper
Size: 9.30 m x 2.70 m (1.55 m x 2.70 m each) Year 2014 2015
Convex or concave to the eye, the reflection depends entirely on how close the object is to the mirror. The work is itself an amplifying mirror for the subtle or the luminous body, offered with grace for the viewers’ assembly. The animated composition of the Polyptych emerges with opening and enclosure gates, the Adam and his consort, Eve. In between, the ‘altar’ of the soul, The Virgin, Christ and the cherubim. Do not avert the eye! The intention is to reflect the luminosity of the celestial space, to reflect the eyes of the viewer towards himself.
Therefore, the eyes could create in a simultaneous time, the impression of distance as well as that of presence, and the work itself, its style and the iconographical elements wills to create a synthesis of both corporality and transcendence. Ultimately, the icon, such as a mirror of higher veneration, is independent of our contingence; it is wished as enigmatic, immanent and reflective.
Mirror: Passage and Enactment of the Soul
Visual Art and Text Presentation
Polyptych. Six pieces. Nine Meters of Drawing
Mixed Media , ink, gouache, charcoal and gesso on paper
Size: 9.30 m x 2.70 m (1.55 m x 2.70 m each) Year 2014 2015
Convex or concave to the eye, the reflection depends entirely on how close the object is to the mirror. The work is itself an amplifying mirror for the subtle or the luminous body, offered with grace for the viewers’ assembly. The animated composition of the Polyptych emerges with opening and enclosure gates, the Adam and his consort, Eve. In between, the ‘altar’ of the soul, The Virgin, Christ and the cherubim. Do not avert the eye! The intention is to reflect the luminosity of the celestial space, to reflect the eyes of the viewer towards himself.
Therefore, the eyes could create in a simultaneous time, the impression of distance as well as that of presence, and the work itself, its style and the iconographical elements wills to create a synthesis of both corporality and transcendence. Ultimately, the icon, such as a mirror of higher veneration, is independent of our contingence; it is wished as enigmatic, immanent and reflective.
Religion is a contested territory, as not only political, but intellectual and metaphorical; transposed in art it becomes regulated by ritualistic, rhythmic connotations. Here the artist is revising an imaginative medium, deus in rebus, gleaming chaste harsh lines, searching for a fast-track to enlightenment but weighted down by excess emotional and spiritual heredity (vices that are always be expected to exist) - the composition is mannered yet the forms are not conventional.
This would grant, he believes, a fascinating counterpoint, rich powerful and artistic to those unaware of the immortality of the Soul. His elegantly written prose and poetical descriptions are as fanciful as a reflection of his artistic subjects, with a perceptive undertone to each.
The black and white visions provide a fascinating counterpoint to the more composed, encaustics [from Greek enkaustikos, to burn] used also by the Mexican Muralists or contemporary painters such as Klee’s disciple Fritz Faiss, oils, raisins, waxes, charcoal, frescos, with delicate dabs which capture the pigment lightness and myriad emotions such as a fragile splendor.
This would grant, he believes, a fascinating counterpoint, rich powerful and artistic to those unaware of the immortality of the Soul. His elegantly written prose and poetical descriptions are as fanciful as a reflection of his artistic subjects, with a perceptive undertone to each.
The black and white visions provide a fascinating counterpoint to the more composed, encaustics [from Greek enkaustikos, to burn] used also by the Mexican Muralists or contemporary painters such as Klee’s disciple Fritz Faiss, oils, raisins, waxes, charcoal, frescos, with delicate dabs which capture the pigment lightness and myriad emotions such as a fragile splendor.
The Angel of the Highest councilEncaustic, wax, pigments, charcoal, clay and shellack on canvas
Dimensions: 180 x 200 cm
Macura Museum, Year 2016
Dimensions: 180 x 200 cm
Macura Museum, Year 2016
Portraits of Dadaists100 years of Cabaret Voltaire
Macura Museum
5 pieces
Encaustic, wax, pigments, charcoal, gesso and bitumen on wood
Dimensions: 32 X 60 cm
Macura Museum
5 pieces
Encaustic, wax, pigments, charcoal, gesso and bitumen on wood
Dimensions: 32 X 60 cm
Nocturno
Polyptych, Six drawings
Mixed Media, paper, charcoal, ink, gold, shellack
Dimensions: 40 x 59 cm each
Year: 2015
Polyptych, Six drawings
Mixed Media, paper, charcoal, ink, gold, shellack
Dimensions: 40 x 59 cm each
Year: 2015
The Sun and the Moon are deeply in love, yet are confused about the origins of this love: both contemplate the world through a thick mist of unknowing. Nocturo is an indirect method of narration which places value on lyricism, mood and reflection beyond phantasy. Through a succession of rare textures and shapes the cycle of works reveals steady improvement in techniques. These are minimal views, graphic views which compel a language that is not at all contemporary with their making. The works stand in a slow exposure molded by energy and experiment; a parable. The artist is vowed to his spiritual Orthodox heritage, a tradition he employs in this cycle of works wonderfully subtle and melancholically. The overall effect is one of mystery and mystification.
The Sun and The Moon appear magical in a love tandem; they wane and wax until they invite each other to the eclipse, such in a pleasing love. This love is an enormous meeting guarded by angels in gratifying pose. They protect and invite. This moment is fixed in time, irreproducible.
The nocturnal chromatic is romantic, epiphanic, salty, silvery, golden, with dark and light emphasises. The salt and silver were the main components of alchemy: silver to react to light, the salt to tame the reaction, as not to let matter darkening until nothing is left to see. The gold seals the surrealist landscape, the angelic mandolas and the celestial bodies. The art of fixing gold which the artist masters offers a type of light for the entire space, a light that reveals hidden details, the shadows, and the sharp edges - so distinct. The best way to perceive this ‘light’ in the artist’s work, and probably the only way to rediscover its spectrum, depth, detail and contour is to approach it with the intent to see introspectively and imaginary.
The Sun and The Moon appear magical in a love tandem; they wane and wax until they invite each other to the eclipse, such in a pleasing love. This love is an enormous meeting guarded by angels in gratifying pose. They protect and invite. This moment is fixed in time, irreproducible.
The nocturnal chromatic is romantic, epiphanic, salty, silvery, golden, with dark and light emphasises. The salt and silver were the main components of alchemy: silver to react to light, the salt to tame the reaction, as not to let matter darkening until nothing is left to see. The gold seals the surrealist landscape, the angelic mandolas and the celestial bodies. The art of fixing gold which the artist masters offers a type of light for the entire space, a light that reveals hidden details, the shadows, and the sharp edges - so distinct. The best way to perceive this ‘light’ in the artist’s work, and probably the only way to rediscover its spectrum, depth, detail and contour is to approach it with the intent to see introspectively and imaginary.
Subtle Bodies
2014 2015
The artistic evocation of angelophanies, in which the subtle forms reveal themselves through iconographical representations, is impregnated with the need to argument the subtle corporality of angels, archangels and saintly entities, so often depicted in the early Christian ambiance. They are contoured, as in the neoplatonic opuscules according to the existence of an ‘intelligible matter’ rendered into the mundane through aesthetic convention and instrumentation.
‘Les Dessins’ follow an unusual technique, archaic, sinuous, often monochrome, which invoke the principle enunciated in Macarian Homilies according to which, the ‘fine body’ of the angels, their subtle nature is heavenly circumscribed. Far from being dogmatically tendentious, the works are an imaginative construct, (not a dissimulation), a healing instrument of contemplation towards the celestial.
2014 2015
The artistic evocation of angelophanies, in which the subtle forms reveal themselves through iconographical representations, is impregnated with the need to argument the subtle corporality of angels, archangels and saintly entities, so often depicted in the early Christian ambiance. They are contoured, as in the neoplatonic opuscules according to the existence of an ‘intelligible matter’ rendered into the mundane through aesthetic convention and instrumentation.
‘Les Dessins’ follow an unusual technique, archaic, sinuous, often monochrome, which invoke the principle enunciated in Macarian Homilies according to which, the ‘fine body’ of the angels, their subtle nature is heavenly circumscribed. Far from being dogmatically tendentious, the works are an imaginative construct, (not a dissimulation), a healing instrument of contemplation towards the celestial.
Les Trois
Mixed Media, pigments, charcoal, shellack, gesso on paper, 70 x 100
Mixed Media, pigments, charcoal, shellack, gesso on paper, 70 x 100
The One Who Sends the Stars into the Heavens
Mixed Media, pigments, charcoal, shellack, gesso on paper, 70 x 100
Alongside, one is aware of the significance of the color purple which represents all good, quintessential things created by the Providence. This percussive obsession of the artist for purple and gold make reference to the kingly Romans during the empire, or the Byzantine Porphyrogénnētos and much like the yellow for the Chinese emperors.
The sacred image could lead viewers from the visible to the knowledge of invisible. Visible things are corporeal models which provide a vague understanding of intangible things. The inability to direct our thoughts to contemplation to higher things makes it necessary that everyday media be utilized to give suitable form to what is formless, and make visible what cannot be depicted.
Mixed Media, pigments, charcoal, shellack, gesso on paper, 70 x 100
Alongside, one is aware of the significance of the color purple which represents all good, quintessential things created by the Providence. This percussive obsession of the artist for purple and gold make reference to the kingly Romans during the empire, or the Byzantine Porphyrogénnētos and much like the yellow for the Chinese emperors.
The sacred image could lead viewers from the visible to the knowledge of invisible. Visible things are corporeal models which provide a vague understanding of intangible things. The inability to direct our thoughts to contemplation to higher things makes it necessary that everyday media be utilized to give suitable form to what is formless, and make visible what cannot be depicted.
Subtle Bodies. Archangel Micha'el.
Mixed Media, pigments, charcoal, shellack, gesso on paper, 50 x 62
Mixed Media, pigments, charcoal, shellack, gesso on paper, 50 x 62
Subtle Bodies. Pasarea Maiastra
Mixed Media, charcoal, gesso, shellack on paper, 36 x 57
Kindertotenlieder – Metamorphosis
Exhibition, Video Presentation, Performance Museum Macura, Serbia
Technique: Mixed Media on paper, gesso, charcoal, graphite, shellack
Year: 2012
Mixed Media, charcoal, gesso, shellack on paper, 36 x 57
Kindertotenlieder – Metamorphosis
Exhibition, Video Presentation, Performance Museum Macura, Serbia
Technique: Mixed Media on paper, gesso, charcoal, graphite, shellack
Year: 2012
Reserved for Moscow Biennale 2015
'Concerning the Kindertotenlieder, Mahler told me, he was sorry that he had to write them, and sorry for the world that would have to hear them, so frighteningly sad is their content. The Kindertotenlieder gripped me as the most personal and deeply distressing thing Gustav has ever done.'
[Natalie Bauer-Lechner]
A group of 428 poems written by Friedrich Rückert in between 1833–1834, Kindertotenlieder embodies a lamentation in manic verses on the death of his two children and his endeavor to revive them to solace. Inspired by this material, Mahler turned to the medium of orchestral song cycle (Kindertotenlieder, Rückert-Lieder) as a musical experiment of the immense drama; he created a philosophical epicenter through the magistral heterophonic and dramatic accents, within this newly unified homophonicpolyphonic texture.
This dominant texture presides over the most daunting of his works (Kindertotenlieder), acquired with a deep sense of ‘ending’, as we find in Pierpont Mongan Library where Mahler’s personal musicological studies are preserved.
The artist absorbs the spiritual afflictions, the spasms of his very personal agonizing ‘offsprings’ and draws their release again, into the world of spiritual consolation: Grigori Yefimovich Rasputin, the mystical stigmata monk and faith healer, Marina Ivanovna Tsvetaeva, Joseph Brodsky and Rilke’s muse, Pavel Alexandrovich Florensky, or the Neo-Martyr and Ivan Nikolaevich Kramskoi of ‘Inconsolable Grief’.
Kindertotenlieder vision is pictorially fertilized with golden suns (Goldene Sonne), the mystic nimbuses (geometric symbols of the heavens) and irises (flowerings of the eye, the luminous fluid that flows from the eye), hermetic symbols that stem from Christianity, taken in old illuminations as an allusion to the Virgin at the Passion of Christ. Metamorphosis from an amorphous chrysalides ’noir’ to a butterfly and intrinsically its ‘maturation and enclosure’ (symbol of the mysterious opus of spirit mutation), inspired, along with the musical-poetic intercourse, the title of the exhibition.
Works in display in Magacin, Macura Museum 2014 2015
Golden Eye 30 x 20, Golden Sun 12 x 7, pigments, 23.5 K Gold on wood
Year 2012
Year 2012
View from artist’s atelier.
Mixed Media, charcoal, gesso, shellack, on paper, 65 x 80
Reserved for Moscow Biennale 2015
Mixed Media, charcoal, shellack, gesso, 23.5 K Gold on paper, 65 x 80
Golden Sun, Mixed Media, charcoal on paper, gold pigment, 23.5 K Gold, gesso, shellack
80 x 120
80 x 120
Grigori Yefimovich Rasputin and Ivan Nikolaevich Kramskoi
Mixed Media, charcoal on canvas, 50 x 138
Mixed Media, charcoal on canvas, 50 x 138
Pavel Florensky and Marina Ivanovna Tsvetaeva Mixed Media, charcoal on canvas, 50 x 138 cm
Marina Ivanovna Tsvetaeva (detail)
Golden Sun I, Mixed Media 32 x 15, pigments, 23.5 K Gold on wood
Golden Sun II, pigments, gold pigments, 23.5 K Gold, gesso, shellack on canvas,
80 x 60
Golden Sun II, pigments, gold pigments, 23.5 K Gold, gesso, shellack on canvas,
80 x 60
Oko, diptych, Mixed Media, charcoal, shellack, gesso on canvas, 45 x 55
The Door of Nations
Visual Art and Video Presentation
Year: 2008 2014
Near and below Macura Museum, Đervin, Serbia, on the shore of the Danube.
The artist is in search for the elements, the signs as inscriptions and the material that make up an icon in nature; it comes next to the apokalypsis message that the film carries. The destinies of the ‘nations’ are ‘freed ‘in a watery surreal paysage; water is both biological and the somatic medium of the ‘inside’. The amniotic fluid of the nature’s womb is this time experimented in compos mentis, exposed to view and sound.
Three states of water that do not disappear but transfigure.
The advent of new man as prophesied in the eschatological and apostolic text of St. John is summoned again into the now, as for the gates of the nations be thus opened.
Visual Art and Video Presentation
Year: 2008 2014
Near and below Macura Museum, Đervin, Serbia, on the shore of the Danube.
The artist is in search for the elements, the signs as inscriptions and the material that make up an icon in nature; it comes next to the apokalypsis message that the film carries. The destinies of the ‘nations’ are ‘freed ‘in a watery surreal paysage; water is both biological and the somatic medium of the ‘inside’. The amniotic fluid of the nature’s womb is this time experimented in compos mentis, exposed to view and sound.
Three states of water that do not disappear but transfigure.
The advent of new man as prophesied in the eschatological and apostolic text of St. John is summoned again into the now, as for the gates of the nations be thus opened.
Untitled
Diptych
Mixed Media. Charcoal, pencil, pigments, gesso and shellack on handmade paper
One unit 80 x 122 cm
Year 2015
Diptych
Mixed Media. Charcoal, pencil, pigments, gesso and shellack on handmade paper
One unit 80 x 122 cm
Year 2015
Art is Crucifix
Red Mother of God, Black Mother of God
Egg tempera (pigments), shellack, gold wax and damar on wood
Red gold and Rosenoble,
Year 2010 2015
Tryptich, Christ, 79 x 1,55, St John 60 x 1,55, Mother of God 60 x 155, Mixed media on wood, oil, pigments, egg tempera, shellack, 23.5 K Gold
Red Mother of God, Black Mother of God
Egg tempera (pigments), shellack, gold wax and damar on wood
Red gold and Rosenoble,
Year 2010 2015
Tryptich, Christ, 79 x 1,55, St John 60 x 1,55, Mother of God 60 x 155, Mixed media on wood, oil, pigments, egg tempera, shellack, 23.5 K Gold
Sainte Genevieve de Paris, 17 x 37x 4
200 years old wood from Hilandar Monastery, Athos
Gold, gesso and egg tempera (pigments), shellack
200 years old wood from Hilandar Monastery, Athos
Gold, gesso and egg tempera (pigments), shellack
Aleksej Germanovich (Đermanović) Biography born 1972, Paris
2016 – 2017 Expanded media Art Triennial, Pavilion “Cvijeta Zuzorić”, video work, 7 Angelic trumpets, Belgrade
2016 DA 2, The Angel of the Highest Council, encaustic, wax, pigments, clay and shellack on canvas, collective exhibition, Macura Museum
2016 Zenit is not DADA (100 years of Cabaret Voltaire), 5 portraits of Dadaists, Macura Museum
2015 Moscow 6th Biennale of Contemporary Art and Sound: the music partiture of the late romantic Mahler's Kindertotenlieder (Songs of the Dead Children) mixmedia and the Video Work which cultivates the same theme.
2015 – 2017 restoration of the artworks, Macura Museum collection, Pravin Cherkoori, Gera Urkom, Illumination, Damnjan etc.
2015 9 meters of drawings, polyptych of six pieces, Magacin (Macura Museum)
2015 Frescoes, monastery of Holy Trinity, Bistrica
2014 Collective Exhibition, Collection and Fashion Presentation with Dragana Ognjenovic, Magacin Museum, Serbia
2014 Screening of short artistic video ‘The Door of Nations’ and Presentation of Essay ‘Mirror - Landscapes of the Self’, VIII International Scientific Meeting of Iconography Studies, Temple of Saint Sava, Belgrade, Serbia
[https://www.youtube.com/watch?v=IsL9w0FQx6Q]
2014 CONSPIRACY, Venture Critical Supply, Round Table and Performance of Byzantine Chant, Participants : Carmelo Romeo, Luciano Trina, Mira Brtka , Radonja Leposavic , Aleksej Daniel Germanović and guests. Macura Museum
2014 Icon of the Holy Virgin Cathedral Church in Obrenovac, Serbia
2014 Exhibition of drawings and discussion on the hagiographies of the Gallic Saints,
Academy S.O.C. for arts and restoration – Sainte Genevieve de Paris - The way of the Icon in the XXI century
2013 Exhibition Homage to Kandinsky for Architectural Studio Smart Art, Moscow
2013 Restoration works in the collection of the Museum Macura, Serbia. Authors: Pravin Cherkoori, Gera Urkom, Mira Brtka, Aiko Miyawaki etc.
2013 Academy S.O.C. for arts and restoration, Studies of Gallic Saints and the Saint Genevieve of Paris with Deacon Srdjan Radojkovic and translation of the Life of the Saints from French.
2012 Exhibition fresco, Temple of Saint Sava, The Crypt, Temple of St Lazar, Belgrade, Serbia.
2012 International Collective Exhibition, Museum Macura, ‘Illumination and Guests’
2012 Exhibition Traditional – Modern, ULUPUDS, Gallery 73, Belgrade, Serbia
2011 Church of St. Elias (Ubli Herceg Novi), frescoes, al fresco technique (Monument of the sixteenth century, not so far vivid), fresco on the Portal of the Church of St. John the Theologian Petrovac (Monastery of St. Save), Montenegro.
2011 Solo exhibition, Museum Night, CZK St. Banovci, Kindertotenlieder - Metamorphosis
Songs of the Dead Children, Aleksej Daniel Germanovich and guests
[https://www.youtube.com/watch?v=3GNHO1FwaTY]
2011 Military Museum Kalemegdan, Kazamati, collection of the Museum Macura, Serbia
2011 Exhibition, Art Colony Sićevo - Pavilion - GSLU Niš, Serbia
2010 Art Colony Sicevo, Participants: Prof. Cedomir Vasic , Uros Djuric , Miron Mutaovic, Alexei Daniel Đermanović , Saša Stojanović , Mr.Jelena Salinic , Mile Simic , Marija
Stojiljkovic , Nikola Markovic and Neda Šukletović , Tine Hind , Kaori Nakamura and Koichi Makino
2010 Icons for Church of St. Elijah, Stara Pazova
2010 Exhibition ULUPUDS, Traditional and Modern, Museum 25. Mai, Belgrade, Serbia
2010 MIPIM, Salon of Architecture in Cannes, Project Symbiosis
[https://www.youtube.com/watch?v=83IOZ2CBjGo]
2010 Project ‘Symbiotic Architecture’, Salon of Architecture, Museum of Applied Arts, Belgrade, Serbia
2009 Collective Exhibition – ULUPUDS, Central Military House, Belgrade, Serbia
2009 Frescoes and Icons commissioned for the Church of Saint Elijah, Stara Pazova, Serbia
2009 Collective Exhibition of Byzantine Icons, Russian Centre of Science and Culture, Belgrade
2009 Collective Exhibition of Paintings, Graphic Sections, ULUPUDS, Central Military House, Belgrade, Serbia
2008 Crux Project, Malevich Chapel for Macura Museum, Serbia
2008 Performance Participant in ‘Archaeologists come out into the Light’ by Klaus Golz Museum Macura, Novi Banovci in cooperation with Stalzer Gallery, Wien
2008 Exhibition ‘Ars Altera Pars’, Museum Macura Novi Banovci, Serbia
2008 Solo Exhibition ‘Personal Ark’, Gallery CZK, Stara Pazova, Serbia
Serbia
2007 Exhibition part of the ‘Opened Night Museums’, ULUPUDS, Museum in Ruma, Serbia
2007 Exhibition, Painting and Graphic Sections, Gallery Singidunum, ULUPUDS, Serbia
2007 Exhibition, ‘Acceleration’ Gallery “Tursko kupatilo”, ULUPUDS, Belgrade, Serbia
2007 Exhibition, Hotel ‘Grande Bretagne’, Athens, promotion of work and special recognition from the Greek Crown Prince John Lascaris Arcadia Komnina for contribution to visual culture
2007 Collective Exhibition Gallery ‘Progress’, ULUPUDS, Belgrade, Serbia
2006 Painting Exhibition, Gallery Piraeus Athens Multicultural Center, International Action
Art, UNESCO, Department of Piraeus and Islands
2006 Solo Exhibition Gallery CZKT Stari Banovic, Serbia
2004 Collective Exhibition ULUPUDS, Gallery Singidunum, Belgrade, Serbia
2004 Traditional Collective Exhibition of ULUPUDS, Belgrade, Serbia
2004 Solo Exhibition Gallery CZKT, Stari Banovci, Serbia
2004 Solo Exhibition, Oil and Encaustic on Panel, ‘Paysages’ Gallery CZK Stara Pazova, Serbia
2004 Collective exhibition on the occasion of bicentennial Serbian Independence, Gallery House Vojnovica, Indjija, Serbia
2002 Collective Exhibition, Goethe Institute, Belgrade,Serbia
2002 Collective Exhibitions, People's University Ilija Kolarac, Chamber Gallery, Serbia [2001, 2000]
1998 2002 Attended the Academy S.O.C. Arts and Conservation, Painting Section
1997 Collective Exhibition, Gallery Scene Crnjanski, ULUPUDUS, Belgrade, Serbia
1997 Study of Orthodox Iconography and Byzantine Chant, Monastery of Archangel
Michael and Gabriel in Kovilj, Serbia
1996 1997 Attending Šumatovačka School of Painting
1995 Participation Art Colony Prohor Pčinski under patronage of VSLIPU of mentor Dragana Milosavljević.
1994 Collective Exhibition Gallery, ULUST, St.Pazova, Serbia
1993 Exhibition of Paintings, Curator Nikola Kusovac, ULUST, St.Pazova, Serbia
1993 Charity Art Exhibition for War Veterans,Belgrade Serbia
1993 Attends VSLIPU, Fine and Applied Arts University, Serbia
Other Activities:
2008 Compact Disc, Psalms of David, Project of the Monastery Choir Kovilj, recorded in RTV Studio, Novi Sad, Serbia
2006 - 2008 Iconography for the Cathedral related to Chilandar Monastery, Athos
2006 Concert of the Ancient Byzantine Chant, Rouse, Bulgaria
2005 Mosaic ‘Ship of Salvation’, Monastery St. Archangels Michael and Gabriel, Kovilj, Serbia
2004 Performance, Mokranjčevi Days, Serbia
2004 The Fresco of St. Basil, of St. Portal, Basil of Ostrog in Novi Banovci, Serbia
2004 2005 Icons and Frescos, Resident in Monastery of St. Basil at Sea, Hrusia, Athos
2003 Concert of Ancient Byzantine Chant, Church of Saint Roch Paris and
Pavilions Sous Bois, Festival l' Imaginaire, Maison des Cultures du Monde, Paris, France
2003 2004 Iconography, Christ on the Throne, Altar of the Cathedral in Vrbas, Serbia
2002 Concert of Ancient Byzantine Chant, Opening Ceremony of the Cultural Center, Moscow, Russia
2002 Frescoes and Icons for St Archangels Michael and Gabriel Monastery, Kovilj
2001 Concert of Ancient Byzantine Chant Helsinki, Ilomanci, Finland
2001 Concert of Ancient Byzantine Chant and Compact Disc, BEMUS, National Museum, Serbia
Awards and Distinctions
2007 Award. Special Recognition of the Greek Crown Prince John Lascaris Arcadio
Comneno for contribution to visual culture, Madrid, Athens
2006 Award. Piraeus Athens Multi - Cultural Center, International Action Act, Painting Exhibition, UNESCO, Department Piraeus & Islands
2003 Award. Festival l’Imaginaire, Maison des Cultures du Monde, Paris, France
Brief Art Criticism
First and foremost Aleksej Germanovic is a very good friend of mine. I deeply appreciate his art which is inspired by the creative charge of Orthodox Iconography and which creates a light journey into the transcendental abstraction and figuration. Often in his art he employs Christian universal symbolism and sometimes just plain line and colour. His opus often receives a third dimension.
I and Aleksej have named our project from 2008, Symbiosis, so that his vision along with mine, can contribute to the development of this architectural, philosophical and artistic construct. Symbiosis is philosophically based on the principles of the Orthodox Christian creed. We had a very good affinity together and we have shared the results through participation in the international architectural conferences and exhibitions. There he commenced from the ideas of his ‘Personal Arka’ contributing to the concept of Symbiosis at the philosophical and graphic level.
In addition to the artistic cooperation, we share a beautiful friendship. He is a man with whom one can often debate cosmic themes that the ordinary rational spirit cannot comprehend.
Full of life energy and flashes as well as of the desire for constant spiritual erudition and development, embodying and sharing this attained vision, this is for certain Aleksej.
May he be blessed with a long life!
Ksenija Bulatović, Architect
Email: [email protected] http://www.cubex.rs/ Belgrade
Serbia
What does that Aleksej Germanović says about his works?
It tells us that the point is not visible in the figure, but in that invisible located behind the character and its form. It tells us that we need to give sound to silence us so that we can hear it and find out yourself. He feels that the canonical art of creative energy reserves in the world and does not allow her to go out "another world". Leaving the safe territory of completed forms and ideals of perfection, Alexei enters into unexplored and unsafe area of the symbol. It takes courage to leave his obedience to this world and step into the new. Alexei in his creativity is not looking towards the new aesthetics, the symbol is in him striving to get rid of symbolism, and this inevitably introduces field transcendent.
Wood not only represents growth, maturation and crucified Christ. It communicates with the lower world, the world of shadows and souls of them that slept. It is not a mythical underworld Tartar light, darkness through which cast anvil plunges nine days. It is darkness as the area of protection, habitat shadows bless our loneliness and under whose authority the meeting can happen.
The circle is not only a symbol of universal, unitary and indivisible. The beginning and the end. On the bridge, the signs and call. Alexei was able to feel the flicker of that call and let silence imply that the secret of creativity which contributes to its truth slow maturation of the universe. The secret of creativity that seeks a new being.
Novica Babovic, Visual Artist
Email: [email protected]
Belgrade
Serbia
Acknowledgement
Publisher, Editor, Curator: Carmen Cochior-Plescanu [email protected]
Photographic credits: Milica Tepavac [email protected]
Critic by the courtesy of Ksenija Bulatović and Novica Babovic
With special thanks to Vladimir Macura, owner of Magacin, Macura Museum where all photos were taken with grace of his amiability.
2016 – 2017 Expanded media Art Triennial, Pavilion “Cvijeta Zuzorić”, video work, 7 Angelic trumpets, Belgrade
2016 DA 2, The Angel of the Highest Council, encaustic, wax, pigments, clay and shellack on canvas, collective exhibition, Macura Museum
2016 Zenit is not DADA (100 years of Cabaret Voltaire), 5 portraits of Dadaists, Macura Museum
2015 Moscow 6th Biennale of Contemporary Art and Sound: the music partiture of the late romantic Mahler's Kindertotenlieder (Songs of the Dead Children) mixmedia and the Video Work which cultivates the same theme.
2015 – 2017 restoration of the artworks, Macura Museum collection, Pravin Cherkoori, Gera Urkom, Illumination, Damnjan etc.
2015 9 meters of drawings, polyptych of six pieces, Magacin (Macura Museum)
2015 Frescoes, monastery of Holy Trinity, Bistrica
2014 Collective Exhibition, Collection and Fashion Presentation with Dragana Ognjenovic, Magacin Museum, Serbia
2014 Screening of short artistic video ‘The Door of Nations’ and Presentation of Essay ‘Mirror - Landscapes of the Self’, VIII International Scientific Meeting of Iconography Studies, Temple of Saint Sava, Belgrade, Serbia
[https://www.youtube.com/watch?v=IsL9w0FQx6Q]
2014 CONSPIRACY, Venture Critical Supply, Round Table and Performance of Byzantine Chant, Participants : Carmelo Romeo, Luciano Trina, Mira Brtka , Radonja Leposavic , Aleksej Daniel Germanović and guests. Macura Museum
2014 Icon of the Holy Virgin Cathedral Church in Obrenovac, Serbia
2014 Exhibition of drawings and discussion on the hagiographies of the Gallic Saints,
Academy S.O.C. for arts and restoration – Sainte Genevieve de Paris - The way of the Icon in the XXI century
2013 Exhibition Homage to Kandinsky for Architectural Studio Smart Art, Moscow
2013 Restoration works in the collection of the Museum Macura, Serbia. Authors: Pravin Cherkoori, Gera Urkom, Mira Brtka, Aiko Miyawaki etc.
2013 Academy S.O.C. for arts and restoration, Studies of Gallic Saints and the Saint Genevieve of Paris with Deacon Srdjan Radojkovic and translation of the Life of the Saints from French.
2012 Exhibition fresco, Temple of Saint Sava, The Crypt, Temple of St Lazar, Belgrade, Serbia.
2012 International Collective Exhibition, Museum Macura, ‘Illumination and Guests’
2012 Exhibition Traditional – Modern, ULUPUDS, Gallery 73, Belgrade, Serbia
2011 Church of St. Elias (Ubli Herceg Novi), frescoes, al fresco technique (Monument of the sixteenth century, not so far vivid), fresco on the Portal of the Church of St. John the Theologian Petrovac (Monastery of St. Save), Montenegro.
2011 Solo exhibition, Museum Night, CZK St. Banovci, Kindertotenlieder - Metamorphosis
Songs of the Dead Children, Aleksej Daniel Germanovich and guests
[https://www.youtube.com/watch?v=3GNHO1FwaTY]
2011 Military Museum Kalemegdan, Kazamati, collection of the Museum Macura, Serbia
2011 Exhibition, Art Colony Sićevo - Pavilion - GSLU Niš, Serbia
2010 Art Colony Sicevo, Participants: Prof. Cedomir Vasic , Uros Djuric , Miron Mutaovic, Alexei Daniel Đermanović , Saša Stojanović , Mr.Jelena Salinic , Mile Simic , Marija
Stojiljkovic , Nikola Markovic and Neda Šukletović , Tine Hind , Kaori Nakamura and Koichi Makino
2010 Icons for Church of St. Elijah, Stara Pazova
2010 Exhibition ULUPUDS, Traditional and Modern, Museum 25. Mai, Belgrade, Serbia
2010 MIPIM, Salon of Architecture in Cannes, Project Symbiosis
[https://www.youtube.com/watch?v=83IOZ2CBjGo]
2010 Project ‘Symbiotic Architecture’, Salon of Architecture, Museum of Applied Arts, Belgrade, Serbia
2009 Collective Exhibition – ULUPUDS, Central Military House, Belgrade, Serbia
2009 Frescoes and Icons commissioned for the Church of Saint Elijah, Stara Pazova, Serbia
2009 Collective Exhibition of Byzantine Icons, Russian Centre of Science and Culture, Belgrade
2009 Collective Exhibition of Paintings, Graphic Sections, ULUPUDS, Central Military House, Belgrade, Serbia
2008 Crux Project, Malevich Chapel for Macura Museum, Serbia
2008 Performance Participant in ‘Archaeologists come out into the Light’ by Klaus Golz Museum Macura, Novi Banovci in cooperation with Stalzer Gallery, Wien
2008 Exhibition ‘Ars Altera Pars’, Museum Macura Novi Banovci, Serbia
2008 Solo Exhibition ‘Personal Ark’, Gallery CZK, Stara Pazova, Serbia
Serbia
2007 Exhibition part of the ‘Opened Night Museums’, ULUPUDS, Museum in Ruma, Serbia
2007 Exhibition, Painting and Graphic Sections, Gallery Singidunum, ULUPUDS, Serbia
2007 Exhibition, ‘Acceleration’ Gallery “Tursko kupatilo”, ULUPUDS, Belgrade, Serbia
2007 Exhibition, Hotel ‘Grande Bretagne’, Athens, promotion of work and special recognition from the Greek Crown Prince John Lascaris Arcadia Komnina for contribution to visual culture
2007 Collective Exhibition Gallery ‘Progress’, ULUPUDS, Belgrade, Serbia
2006 Painting Exhibition, Gallery Piraeus Athens Multicultural Center, International Action
Art, UNESCO, Department of Piraeus and Islands
2006 Solo Exhibition Gallery CZKT Stari Banovic, Serbia
2004 Collective Exhibition ULUPUDS, Gallery Singidunum, Belgrade, Serbia
2004 Traditional Collective Exhibition of ULUPUDS, Belgrade, Serbia
2004 Solo Exhibition Gallery CZKT, Stari Banovci, Serbia
2004 Solo Exhibition, Oil and Encaustic on Panel, ‘Paysages’ Gallery CZK Stara Pazova, Serbia
2004 Collective exhibition on the occasion of bicentennial Serbian Independence, Gallery House Vojnovica, Indjija, Serbia
2002 Collective Exhibition, Goethe Institute, Belgrade,Serbia
2002 Collective Exhibitions, People's University Ilija Kolarac, Chamber Gallery, Serbia [2001, 2000]
1998 2002 Attended the Academy S.O.C. Arts and Conservation, Painting Section
1997 Collective Exhibition, Gallery Scene Crnjanski, ULUPUDUS, Belgrade, Serbia
1997 Study of Orthodox Iconography and Byzantine Chant, Monastery of Archangel
Michael and Gabriel in Kovilj, Serbia
1996 1997 Attending Šumatovačka School of Painting
1995 Participation Art Colony Prohor Pčinski under patronage of VSLIPU of mentor Dragana Milosavljević.
1994 Collective Exhibition Gallery, ULUST, St.Pazova, Serbia
1993 Exhibition of Paintings, Curator Nikola Kusovac, ULUST, St.Pazova, Serbia
1993 Charity Art Exhibition for War Veterans,Belgrade Serbia
1993 Attends VSLIPU, Fine and Applied Arts University, Serbia
Other Activities:
2008 Compact Disc, Psalms of David, Project of the Monastery Choir Kovilj, recorded in RTV Studio, Novi Sad, Serbia
2006 - 2008 Iconography for the Cathedral related to Chilandar Monastery, Athos
2006 Concert of the Ancient Byzantine Chant, Rouse, Bulgaria
2005 Mosaic ‘Ship of Salvation’, Monastery St. Archangels Michael and Gabriel, Kovilj, Serbia
- Frescoes, Temple of Apostle Peter and Paul, Donji Tovarnik Srem, Serbia
- Compact Disc, Christmas, Monastery Hilandar, Athos, recorded concert in Athens and Piraeus, UNESCO
2004 Performance, Mokranjčevi Days, Serbia
2004 The Fresco of St. Basil, of St. Portal, Basil of Ostrog in Novi Banovci, Serbia
2004 2005 Icons and Frescos, Resident in Monastery of St. Basil at Sea, Hrusia, Athos
2003 Concert of Ancient Byzantine Chant, Church of Saint Roch Paris and
Pavilions Sous Bois, Festival l' Imaginaire, Maison des Cultures du Monde, Paris, France
2003 2004 Iconography, Christ on the Throne, Altar of the Cathedral in Vrbas, Serbia
2002 Concert of Ancient Byzantine Chant, Opening Ceremony of the Cultural Center, Moscow, Russia
2002 Frescoes and Icons for St Archangels Michael and Gabriel Monastery, Kovilj
2001 Concert of Ancient Byzantine Chant Helsinki, Ilomanci, Finland
2001 Concert of Ancient Byzantine Chant and Compact Disc, BEMUS, National Museum, Serbia
Awards and Distinctions
2007 Award. Special Recognition of the Greek Crown Prince John Lascaris Arcadio
Comneno for contribution to visual culture, Madrid, Athens
2006 Award. Piraeus Athens Multi - Cultural Center, International Action Act, Painting Exhibition, UNESCO, Department Piraeus & Islands
2003 Award. Festival l’Imaginaire, Maison des Cultures du Monde, Paris, France
Brief Art Criticism
First and foremost Aleksej Germanovic is a very good friend of mine. I deeply appreciate his art which is inspired by the creative charge of Orthodox Iconography and which creates a light journey into the transcendental abstraction and figuration. Often in his art he employs Christian universal symbolism and sometimes just plain line and colour. His opus often receives a third dimension.
I and Aleksej have named our project from 2008, Symbiosis, so that his vision along with mine, can contribute to the development of this architectural, philosophical and artistic construct. Symbiosis is philosophically based on the principles of the Orthodox Christian creed. We had a very good affinity together and we have shared the results through participation in the international architectural conferences and exhibitions. There he commenced from the ideas of his ‘Personal Arka’ contributing to the concept of Symbiosis at the philosophical and graphic level.
In addition to the artistic cooperation, we share a beautiful friendship. He is a man with whom one can often debate cosmic themes that the ordinary rational spirit cannot comprehend.
Full of life energy and flashes as well as of the desire for constant spiritual erudition and development, embodying and sharing this attained vision, this is for certain Aleksej.
May he be blessed with a long life!
Ksenija Bulatović, Architect
Email: [email protected] http://www.cubex.rs/ Belgrade
Serbia
What does that Aleksej Germanović says about his works?
It tells us that the point is not visible in the figure, but in that invisible located behind the character and its form. It tells us that we need to give sound to silence us so that we can hear it and find out yourself. He feels that the canonical art of creative energy reserves in the world and does not allow her to go out "another world". Leaving the safe territory of completed forms and ideals of perfection, Alexei enters into unexplored and unsafe area of the symbol. It takes courage to leave his obedience to this world and step into the new. Alexei in his creativity is not looking towards the new aesthetics, the symbol is in him striving to get rid of symbolism, and this inevitably introduces field transcendent.
Wood not only represents growth, maturation and crucified Christ. It communicates with the lower world, the world of shadows and souls of them that slept. It is not a mythical underworld Tartar light, darkness through which cast anvil plunges nine days. It is darkness as the area of protection, habitat shadows bless our loneliness and under whose authority the meeting can happen.
The circle is not only a symbol of universal, unitary and indivisible. The beginning and the end. On the bridge, the signs and call. Alexei was able to feel the flicker of that call and let silence imply that the secret of creativity which contributes to its truth slow maturation of the universe. The secret of creativity that seeks a new being.
Novica Babovic, Visual Artist
Email: [email protected]
Belgrade
Serbia
Acknowledgement
Publisher, Editor, Curator: Carmen Cochior-Plescanu [email protected]
Photographic credits: Milica Tepavac [email protected]
Critic by the courtesy of Ksenija Bulatović and Novica Babovic
With special thanks to Vladimir Macura, owner of Magacin, Macura Museum where all photos were taken with grace of his amiability.