Duci Jović ASKEZA
Beograd, Maj 2024
Balša
Rajčević,
istoričar
umetnosti SLIKARSTVO DUCIA JOVIĆA
J ovićev slikarski opus može se hronološko-stilski podeliti na nekoliko faza:
1. Figuracija sa naglaskom na psihološkoj ekspresiji, kako na licima figura tako i u opštim atmosferama. U ovim figuralnim prikazima čas preteže figurativno, čas apstrahovano i ekspresionistički izmenjeno.
2. Prelazni period koji nagoveštava tematsko motivski, ali, pre svega ekspresivno psihološkim karakteristikama sledeći ciklus.
3. U periodu ciklusa nazvanog „Raspeća“. Polako, sve više se prepoznatljiva figura rastočava, gubi realističku anatomiju i detalje. Najčešće je vertikalno ili vertikalno-horizontalno komponovana, uglavnom razapeta (ne uvek) na krstu koji nije naglašen oblikom, ni svojom ivicom ni bojom, da bi se u prvi plan istakla drama same figure.
4. Novi period uslovno nazvan „minimalistički“ u kome u odnosu na ranije periode dominantnu izražajnu ulogu dobijaju manje-više sveden crtež i oblik ekspresivno deformisanih svojstava, koji su jedno apstrahovano i slobodno, često radikalno transponovano prevođenje realnog izgleda ljudske figure u lični psihološki i ekspresivni doživljaj. U skladu sa naglaskom na izražajnom jeziku oblika i crteža u ovim slikama i kolorit je sveden na ahromatske tonove bele i crne, često sa prelaznim nijansama i samo ponekom vizuelno osmišljenom, ubačenom flekom ili širom površinom crvene, žute ili plave boje... ... U delima najnovijeg slikarskog perioda 2008–2009, po principu logičnog, očekivanog i doslednog razvojnog puta, Jović sve više redukuje formalnu strukturu slike i njene oblikovne elemente. Svedeni oblici sada u korelaciji sa sobom podrazumevaju i svođenje kolorita. Uopšte ovim slikama je svojstvena radikalna redukcija svih izražajno jezičkih sredstava. Jović kolorit svodi na gotovo bihromatske odnose ahromatskih tonova crne i bele. Čišćenje je ponekad sprovedeno do granica minimalističkog oblikovanja: dve-tri figure svedenih, slobodno tretiranih oblika, često blago, ekspresivno deformisanih.
U nekim slikama uspostavljen je odnos figure predstavljene jednostavnim crtežom, u duhu krokija, sa nekoliko brzih, sigurnih i zategnutih poteza, naspram figure redukovane na međuod -
nos samo nekoliko bitnih površinskih masa. U njima dominiraju crno-beli kontrasti sa njihovim prelaznim, flekolikim nijansana u međuprostorima. Kad P. Vasić piše o bitnim obeležjima moderne skulpture, on kao tipičan primer navodi Pikasovu „Glavu žene“ koja je svedena na međuodnos samo nekoliko bitnih, osnovnih masa. U ovim „minimalističkim“ slikama ima i slika u kojima su dominantni crno beli odnos ubačene površinske, pasažne partije žute, narandžasto crvene, okera kao i akcentirajući potezi plave. Crna u ovim slikama, i kad ne dominira kvantitativno kao površinska masa, dominira u celini svojim optičkim dejstvom. Tu vizuelno ekspresivno dejstvo crne doživljavamo kao veću težinu i snagu u odnosu na oblike obojene belom ili predstavljene samo lapidarnim i brzim linijama. Ponekad se Jović znalački posluži i sivim pasažima kao prirodnim prelazima između crne i bele. Ipak, svodeći oblike figura ponekad i do granica krajnje jednostavne redukcije, autor ipak ne gubi ekspresivnost kao svoje karakteristično slikarsko svojstvo. U tim najnovijim slikama, česte su sparene figure, levo – desno, bipolarno ukomponovane u površinu platna i mogu se doživeti, zbog njihovog crno-belog kontrasta kao simbolički izraz dvojstva ljudske ličnosti ili kao objedinjena dvosmislenost ljudskog bića: bele figura i njena senka, tamna i svetla sila, dobro i zlo, koji su, kroz privdnu celinu i objedinjenost, ustvari u stalnoj dijalektici: od ravnoteže, preko sukoba, do prevage jedne od njih. I u ovim slikama se prepoznaje na nov, i opet indirektan način sadržaj Jovićeve gotovo opsesivne teme „Raspeća“. Nije li opisanom dvos-mislenošću svoje prirode, svoje ličnosti, čovek ustvari stalno raspet između dva oprečna poriva. Ima li dramatičnijeg Raspeća nego tog koje je čoveku usađeno rođenjem. I koje on večito, kroz unutrašnju borbu razrešava u sebi...
... Iz razmišljanja i analiziranja Jovićevog dela možemo zaključiti da u njemu postoji stalna potreba za transformacijom figure. Ali ne samo pravolinijski, jednosmerno i sistemski, već s pravom na dvosmernost i u jednom i u drugom pravcu. Taj dvosmerni razvoj se kreće od manje - više apstrahovanog do asocijativno apstraktnog predstavljanja. I kad dolazi do samih granica apstrakcije, Jović čuva reminiscenciju na figure kroz pokret, dinamiku, odnose površinskih masa u prostoru kao i kroz ritam, detalje oblika, znake i simbole. U razvoju slikarstva Ducia Jovića uočavaju se doslednost ponavljanja ali istovremeno i moć varijacije, koji se prepoznaju kao autentičnost i iskrenost, kao potreba za stalnim eksperimentom ali u istraživanju i nenapuštanju sebe, svoje samosvojne ličnosti, svog unutrašnjeg imperativa –„unutrašnje nužnosti” – kako bi rekao V. Kandinski.
Balša Rajčević, Art Historian DUCI JOVIC – PAINTINGS
When a man sets foot in Duci Jovic’s studio, almost all of the walls, floors, tables of his atelier consisting of different rooms – he cannot help noticing all the rooms filled with works of art flooding one’s view with piles of draw-ings, sketches, paintings made on almost every kind of material: paper, canvas, different kinds of cardboard and boxes. Almost each centimeter of the whole space is covered with works of art arising from everywhere. And you immediately realize that you are meeting a painter possessing extraordinary, impressive creative energy to work showing such fertility which is rarely seen nowadays!
The results of the impulsive, gestural and swift spontaneous emptying of the volcanically accumulated and increased internal charge are picturesquely visible everywhere around you through the character and handwriting of these works of art that do not hide anything but, on the contrary, directly reveal: not only the condition, mood, already depicted charge, but the feverish internal flame of its creator as well; they manifest some kind of inner vehemence that must be expressed by using a line, a drawing, a daub, a stain, a colour and by making a stroke –swiftly and spontaneously.
His painting opus can be chronologically and stylistically divided into several phases: Figuration, which is putting an accent on the psychological expression, not only on the faces of the figures but within the space of general atmosphere as well. In those figurative imageries, one moment the figurative prevails, the next moment it is the abstract which is modified in an expressionistic manner that prevails.
Transitive period which, taking into consideration themes and motifs, but, first of all, owing to its expressively psychological characteristics, indicates the next cycle.
In the period of the cycle entitled „Crucifixions“, the recognizable figure is increasingly sublimating, losing its realistic anatomy and details. Most often it is vertically or vertically–horizontally composed, mostly crucified (not always) on the cross which is not accentuated by its shape, nor by its edges or colour, so that the emphasis could be placed on the drama of the figure itself. A new period conditionally termed as „minimalist“ where in comparison to earlier periods, a dominant and expressive role is given to the more or less reduced drawing and the shape of expressively deformed characteristics, which represent the abstract and free, often radically transposed translation of the realistic appearance of a human figure into the personal psychological and expressive experience. In accordance with the great emphasis laid on the expressive language of the shape and drawings represented on these paintings, the local colour is also reduced to the achromatic tints of white and black colour, often with transitive nuances, and now and then with some visually conceived, inserted daub or with some wider area covered in red, yellow or blue. In some of the early figures deriving from the first period and including mostly portraits that are substantially and psychologically intoned with the emphasis laid on the expression of a mental state, which is reflected upon a human face, forms with occasionally conceived inserting of the greater or smaller coloured daubs are treated freely. As if in that transitive period the cycle „Crucifixions“ were already indicated, the same cycle to which the artist remained faithful, in a limited or general sense, until the latest paintings made during the crucial period starting in 2008. The best example of that transitive period is a figure – a torso of a woman, made in 1997, which contains some kind of dynamic disturbance and anxiety while setting modernized „Nike“ in motion, which is associated with the depicted motion and its own fundamental shape. Right there the shapes, particularly those of the head, sublimate into the indescribable „mixture“, consisting of pictorial daubs and strokes having the function of a free representation, a suggestion of some kind of internal psychodynamics manifested by the specific, expressive charge. Even red daubs appear at that point – as accents resembling blood stains – the symbol of torment. Scratched contours broken in an expressionistic manner are already present there – as an announcement of an increasing transposition of the future.
Well chosen name of the cycle „Crucifixion“ is not literal in the thematically substantial sense of the word, although the first associations are religious, just like the visual speech of these paintings which is not explicit, and the contents and meaning are implied and given indirectly. The crucifixion is not a physical entity, immediately recognizable in the outer sense of the word; the term is used in the metaphorical sense: in order to express the inner spiritual crucifying of a human being. From the very beginnings, the present human figure in the paintings of Jovic’s is almost permanently a real polygon – lists of psychodynamics of one’s mental life. He does not aspire to some aesthetic ideal of human beauty through a human figure, and neither does he treat it in an usual way: as a subject of destruction, aggression, degeneration or alienation. On the contrary, his figures contain warmth and mildness of a more human perspective of that human being, as much for the spiritual and complex as for the suffering and sacrificial side of a human being; showing eagerness for compassion, forgiveness and understanding. According to Duci Jovic „Crucifixion“ is actually about an intense need and the state of reaching for individualization, but also, it is about the need to love and be loved, to come out of your own self, from the hermeticism of pure abstraction where one loses communication and ceases
coming to agreement – a transfer with the other and to the other. In that sense he will give a statement on the occasion of the latest series of abstract drawings and paintings: „Even when it comes to abstraction I outlive my previous figural experience“.
One of the permanent principles of the painting approach of Duci Jovic is the restraint of his powerful and abundant energy and the emotions of his overly forceful temperament by establishing rational control, appeasement and deliberation. The aim is to deal with the surplus of the emotional and impulsive physical driving force, to direct and tame it by using meditation, then through the prolonged executive act by becoming mature and by showing understanding. Even in the most abstract transpositions of most of his paintings Jovic – with the exceptions within the cycle of the abstract coloured drawings made in the period lasting from 2008 to 2009 – does not go into a pure abstraction, but he goes into the expressionistic abstraction with still recognizable and minimal traces of the recognizable, at least in the associative sense. There is a lot of rapid gestural expression as a form of spontaneous emptying of the psychological state and the mood of the artist himself. Also, there is a noticeable way in which he seems to be using one’s head, hand, paint, brush, but almost at the same time there is an abrupt meditative control, selective self–censorship.
The range is from the sight of Crucifixion with the cross and the crucified human figure which is recognizable as a motif, along with the well–defined vertically–horizontal or vertical composition and more or less dramatic dynamics of the scene, to the latter „Crucifixions“ of fierce masses teeming with figures set in motion with their legs standing astride, dislocated, broken, deformed and reduced to the expressive impression of the strength, forcefulness of the enormous crucified bodies in the space spreading out into the unnatural or set in motion on the verge of the natural. Without images, faces are depicted as simple lists of declaration and expression of the psychological state but with the emphasized physical energy of the psychic origin. Those are the bodies whose agonized souls speak for them! The same expressive function is given to the small red accents or to the lines inserted on the right spot, together with details and signs in order to express: the state of being crucified, and also elevation, descent, laying the crucified body down and taking it down from the cross. The blue colour of those enormous bodies has a symbolic function: to express the infinity of the heaven, endlessness of the space, metaphysical contents of the sights but the inorganic and subreal ones as well as those which are not led by instincts. Domination of the blue colour often has an impact along with the spiritual symbolism of the vertical. The empty white backgrounds are used along with the metaphysics of these sights. And the red accents have the function of reviving, breaking the monochrome monotony and associa-tions with blood, with the human sufferings of this world, and perhaps with a sparkle of life as well, beside its inherent sorrow and suffering. Numerous drawings – sketches done with the Indian ink and a pencil glued all over the walls in the parallel series are conceived in such a way that all the time they could be before the very face of the artist himself, to present a development of an idea, assistance during its ripening, and during the ripening of a vision as well. However, Jovic does not make a direct use of a single sketch, he takes a selective stand towards them, in his mind they represent more global creative inspiration, and when he starts from some chosen drawing, he supplements it, puts some finishing touches to it, and alters it more or less during its translation into the painting.
He chooses his drawings according to the appropriate dimension of the canvas as well, because he is aware of the significance of the sense for the appropriate dimensioning of a work of art. Afterwards, Jovic chooses the appropriate material background according to the character of a chosen drawing. Or, sometimes he does a reverse thing. Since a drawing is the most appropriate medium for rapid and numerous variations of an artist’s deliberation, but also „the most abstract way of expressing“ (G. Dorival), a direct expression of the artistic thoughtfulness is given in a pure shape – actually, by constant drawing the artist seems to be filling up his reflective and potentially creative warehouses, his treasury of painting and a notebook of future inspirations, or in other words: a notebook of his creative beginnings. Being obsessively engaged in a drawing with regards to its quantity and a drawing as a reflective, in other words as an intellectual and meticulous discipline, indicates an odd connection in the painting approach of Jovic’s: the connection of the reflective starting point, background and spontaneous, seemingly instinctive, fast deduction. Owing to the first degree of a meticulous and well elaborated and deliberate preparation, Jovic is able to simultaneously establish control, selection, as a quick and deliberate decision into the swiftness and gestural spontaneity which are immanent in his temperament. He is able to do all that just in order to avoid falling into the possible chaos and anarchy. Don’t we again recognize „Crucifixion“ there in that antonym – like the state of the author himself! The painter crucified between two states and his aspiration to maintain his balance as much as it is possible! The first state gives a painting a touch of ideologically expressive deliberation rooted inside fine arts, and the second degree provides the works of art with the quality of freshness, and gives the impression that the works have been made on the spur of the moment at one spontaneous „al prima“ dash.
In the works of art of the latest period of painting lasting from 2008 to 2009, Jovic is more and more reducing the formal structure of a painting, together with its formative elements, according to the principle of the logical, expected and consistent way of development. The reduced shapes which are now correlating with each other implicitly include the reduction of the local colour. Generally speaking, the radical reduction of all expressive means of a language is inherent in these paintings. Jovic reduces the local colour to the almost bi–chromatic relationships between the achromatic tints of white and black colour. The cleaning is sometimes carried out to the verges of a minimalist shaping: two or three reduced figures, freely treated shapes, often mildly, expressively deformed.
What is re–established in some of the paintings is a relationship of a figure presented by a simple drawing, in the spirit of a sketch, with a few swift, steady and taut strokes, an opposition to the figure reduced to an inter–relationship among just a few significant masses on the surface. Black–and–white contrasts with their transitive, daub–like nuances in the interspaces are dominant there. When P. Vasić writes about the significant characteristics of a modern sculpture, as a typical example he mentions Picasso’s „The head of a woman“ which is reduced to an inter–relationship among just a few significant, fundamental masses. Among those „minimalist“ paintings there are also some paintings where the passage parties of yellow, orange–red, ochre and accentuated strokes of blue made on the surface are also inserted within the dominant black–and–white relationship. We experience that visually expressive effect of black colour as having greater weight and strength when compared to the shapes coloured white or presented just with
lapidary and swift lines. Jovic sometimes has a skillful recourse to the grey passages as a natural transition between black and white. However, reducing the shapes of figures sometimes even to the verges of an extremely simple reduction, still does not make the author lose expressiveness as a characteristic painting quality of his own.
In those latest paintings, figures are often paired, to the left and right, on the surface of a canvas which is composed of them and owing to their black–and–white contrast they can be experienced as a symbolic expression of duality of a human personality or as a comprised ambiguity of a human being: a white figure and its shadow, dark and light forces, good and evil, which are actually, through the seeming unity and the state of being united, parts of constant dialectics: from an equilibrium, through a conflict, to the preponderance of one of them. The contents of the painter’s almost obsessive theme „Crucifixions“ are also being recognized in those paintings in a new, and again indirect manner. Isn’t a man actually always crucified between two adverse stimuli, owing to the depicted ambiguity of his own nature? Is there a more dramatic Crucifixion than the one that is implanted in his mind at his very birth? The same Crucifixion that he eternally has to deal with through internal battles?
In the painting entitled „The Great Inquisitor 1“, made in 2008, the figures are visually connected, as if they were becoming assimilated while passing into each other. In relation to the first figure, the second one is experienced as a great phallus, and at the same time the first figure seems to have ridden over the second one taking a dominance over it. The larger figure also possesses some recognizable details, the signs of an urbanized character: the window – panes and screens on its head.
The painting entitled „The Great Inquisitor 2“, made in 2008, is also characteristic, particularly with its massive dominant surface reduced almost to one black mass of robot–like characteristics. Wide strokes of daubs and lines enter the black, heavy and static mass, as if breaking it through, establishing a certain type of dynamics. Two heads are placed in the upper part as well as the body, and the red glasses are put on one of them as a sign of a warning.
After taking into consideration the works of art created by Duci Jovic and after analyzing them, we can draw a conclusion that there is a constant need for the transformation of a figure. But not only with regards to the transformation in a straight line, in one–way and in a systemic manner, but regarding the right to make a two–way transformation, in one direction and the other. That two–way development goes from more or less abstract to the associatively abstract presentation. Even when he reaches the very borders of abstraction, Jovic keeps reminiscence of the figures through the motion, dynamics, relationships of the masses on the surface in the space as well as through the rhythm, details of shapes, signs and symbols.
The consistence of repetition and the power of variation which are recognized under the terms of authenticity and honesty are observed at the same time through the development of the art of painting of Duci Jovic, as a necessity for making constant experiments all the way through the research of his own being, not abandoning his innermost self, his self–confident personality, his internal imperative, „inner indispensability“ according to the opinion of V. Kandinsky.
Lightness of Being, 2024, mixed technique on canvas, 150 x 120 cm
Lakoća postojanja, 2024, kombinovana tehnika na platnu, 150 x 120 cm
Iskorak, 2024, kombinovana tehnika na platnu, 150 x 100 cm
Stepforward, 2024, mixed technique on canvas, 150 x 100 cm
Kontemplacija, 2024, kombinovana tehnika na platnu, 120 x 90 cm
Conteplation, 2024, mixed technique on canvas, 120 x 90 cm
Igra svetlosti, 2024, kombinovana tehnika na platnu, 100 x 100 cm
Light of play, 2024, mixed technique on canvas, 100 x 100 cm
Praskozorje, 2024, kombinovana tehnika na platnu, 120 x 120 cm
Daybreak, 2024, mixed technique on canvas, 120 x 120 cm
Kentaur Hiron, 2024, kombinovana tehnika na platnu, 120 x 120 cm
Centaur Chiron, 2024, mixed technique on canvas, 120 x 120 cm
Engram III, 2024, kombinovana tehnika na platnu, 120 x 120 cm
Engram III, 2024, mixed technique on canvas, 120 x 120 cm
Nebeski šetač, 2024, kombinovana tehnika na platnu, 130 x 137 cm
Sky Walker, 2024, mixed technique on canvas, 130 x 137 cm
Da capo, 2024, kombinovana tehnika na platnu, 150 x 120 cm
Da capo, 2024, mixed technique on canvas, 150 x 120 cm
Ispod sna, 2024, kombinovana tehnika na platnu, 120 x 90 cm
Beneath the Dream, 2024, mixed technique on canvas, 120 x 90 cm
Engram II, 2024, kombinovana tehnika na platnu, 120 x 90 cm
Engram II, 2024, mixed technique on canvas, 120 x 90 cm
Engram I, 2024, kombinovana tehnika na platnu, 120 x 90 cm
Engram I, 2024, mixed technique on canvas, 120 x 90 cm
Genezis, 2024, kombinovana tehnika na platnu, 120 x 90 cm
Genesis, 2024, mixed technique on canvas, 120 x 90 cm
Askeza III, 2024, kombinovana tehnika na platnu, 205 x 105 cm
Asceticis, 2024, mixed technique on canvas, 205 x 105 cm
Askeza IV, 2024, kombinovana tehnika na platnu, 205 x 105 cm
Asceticism IV, 2024, mixed technique on canvas, 205 x 105 cm
Avatar, 2024, kombinovana tehnika na platnu, 150 x 100 cm
Avatar, 2024, mixed technique on canvas, 150 x 100 cm
Kamen duboko kamen visoko, 2024, kombinovana tehnika na platnu, 195 x 130 cm
Stone Deep, Stone High, 2024, mixed technique on canvas, 195 x 130 cm
Whirling
Stalno se vrti nebeski svod, 2024, kombinovana tehnika na platnu, 200 x 120 cm
of the Sky Above, 2024, mixed technique on canvas, 200 x 120 cm
Radost, 2024, kombinovana tehnika na platnu, 195 x 130 cm
Cheer, 2024, mixed technique on canvas, 195 x 130 cm
Duboko belo, 2024, kombinovana tehnika na platnu, 180 x 130 cm
Deep White, 2024, mixed technique on canvas, 180 x 130 cm
Askeza II, 2024, kombinovana tehnika na platnu, 180 x 130 cm
Asceticism II, 2024, mixed technique on canvas, 180 x 130 cm
Askeza I, 2024, kombinovana tehnika na platnu, 180 x 130 cm
Asceticism I, 2024, mixed technique on canvas, 180 x 130 cm
Velika tajna, 2024, kombinovana tehnika na platnu, 150 x 120 cm
Great Secret, 2024, mixed technique on canvas, 150 x 120 cm
Fokus, 2024, kombinovana tehnika na platnu, 180 x 130 cm
Focus, 2024, mixed technique on canvas, 180 x 130 cm
Punim jedrima, 2024, kombinovana tehnika na platnu, 180 x 200 cm
Full Sails, 2024, mixed technique on canvas, 180 x 200 cm
Two Lights in Conjunction, 2024, mixed technique on canvas, 180 x 200 cm
Konjukcija dva svetla, 2024, kombinovana tehnika na platnu, 180 x 200 cm
Voz za centar, 2024, kombinovana tehnika na platnu, 180 x 200 cm
Down Town Train, 2024, mixed technique on canvas, 180 x 200 cm
Orfej i Euridika, 2024, kombinovana tehnika na platnu, 180 x 260 cm
Orpheus and Euridice, 2024, mixed technique on canvas, 180 x 260 cm
I do what I want to do, 2024, mixed technique on canvas, 180 x 260 cm
Radim samo šta hoću da radim, 2024, kombinovana
tehnika na platnu, 180 x 260 cm
Od nastanka do postanka II, 2024 kombinovana tehnika na platnu, 150 x 250 cm
From Origination to Genesis II, 2024 mixed technique on canvas, 150 x 250 cm
Svetionik, 2024, kombinovana tehnika na terakoti, 30 x 15 x 3 cm
The Lighthouse, 2024, mixed technique on terracotta, 30 x 15 x 3 cm
BIOGRAFIJA / BIOGRAPHY
Duško Duci Jović je rođen 29. februara 1964. godine u Kragujevcu. Održao je 38 samostalnih i učestvovao na preko 100 grupnih izložbi. Dobtnik je brojnih nagrada za slikarstvo, među kojima je nagrada za slikarstvo „ITART 2001: 3rd Mini Graphic & Painting World Wide Show“ Pisa, Italy. Član je ULUPUDS. Ima status slobodnog umetnika od 2005. godine.
NAJZNAČAJNIJE SAMOSTALNE IZLOŽBE:
1995. Galerija „Đura Jakšić,“ Skadarlija, Beograd
1996. Galerija „Hipol,“ Odžaci
1998. Mali likovni salon Narodnog muzeja Kragujevac, Kragujevac
2000. ROM – ART Galerije, Braunschweig
2005. Galerija „Geca Kon,“ Beogrgad 2009. Galerija Kulturnog centra, Gornji Milanovac
Narodni muzej Požarevac
Galerija Kulturnog centra „Laza Kostić,“ Sombor
Galerija Kulturnog centra Vrbas
Galerija „Vladislav Maržik,“ Kraljevo 2010. Narodni muzej Kruševac
Narodni muzej Čačak
Galerija Singidunum Beograd
Galerija moderne umetnosti, Narodni muzej
Smederevska Palanka
Kulturni centar Paraćin
Galerija „Progres,“ Beograd 2011. Galerija Narodnog muzeja Kragujevac, Kragujevac
2015. Galerie Der Kunstraum Wien 2016. Kunstmesse Hamburg - Galerie Jaeschke 2019. Galerija Narodnog muzeja Kragujevac, Kragujevac
Galerie Der Kunstraum Wien – Salzburg 2023. Kulturni centar, Gornji Milanovac
Dusko Duci Jovic was born in Kragujevac on February 20th 1964. He has held 38 solo exhibitions and over a hundred group shows. He has won numerous painting awards, including the ITART 2001: 3rd MINI GRAPHIC & PAINTING WORLD WIDE SHOW award in Pisa, Italy. He is a member of the ULUPUDS (the Applied Artists and Designers Association of Serbia).
MAJOR SOLO EXHIBITIONS:
1995. Đura Jakšić Gallery in Skadarlija, Belgrade 1996. The Hipol Gallery in Odzaci 1998. The National Museum in Kragujevac, Mali likovni salon, Kragujevac
2000. ROM-ATR Galerie, Braunschweig 2005. Geca Kon Gallery, Belgrade 2009. The Gallery of the Cultural Centre, Gornji Milanovac
The National Museum in Pozarevac
The Gallery of the Cultural Centre Laza Kostic in Sombor
The Gallery of the Cultural Centre in Vrbas
The Vladislav Marzik Gallery, Kraljevo 2010. The National Museum in Krusevac
The National Museum in Cacak
The Singidunum Gallery, Belgrade
The Modern Art Gallery of the National Mu seum in Smederevska Palanka
The Paracin Cultural Centre
Progres Gallery, Belgrade
2011. The National Museum in Kragujevac
2015. Galerie der Kunstraum, Wienn
2016. Kunstmesse Hamburg - Galerie Jaeschke 2019. The National Museum in Kragujevac
Galerie der Kunstraum, Wienn – Salzburg 2023. Cultural Centre, Gornji Milanovac
Duci Jović
Izdavač / Editor : Galerija Aleksić
Karađorđeva 26, Kragujevac aleksic.gallery@gmail.com
Za izdavača / Authorised: Dejan Aleksić
Umetnički savet galerije Goran Rakić, Nikola Šuica, Milica Zorić
Kustos: Dejan Aleksić
Tekst / Text author: Balša Rajčević
Prevod na engleski / Translation: Natalija Živković
Fotogra ja / Photography: Ivan Arsenijević, Slavoljub Radojević
Dizajn i priprema / Design : Borko Petrović
Štampa / Printed by: Grafostil Kragujevac
Tiraž / Circulation: 300
Godina / Year: 2024
