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Biljana Vuković

Only or already ten years have gone by since the symposium Printmaking on the Edge, and so much has happened in the meantime! And where we are now, are we on or beyond the edge? What dark clouds roll beyond the horizon, arising from the depths, what drama we live in, as uncertainty reigns. And in what direction is this world going?
We see how culture in general and art in particular are being pushed to the margins, neglected by an increasingly materialistically oriented consumer society, with lowered criteria, reduced awareness of the need for art and the values it provides.
However, having all that in mind, printmaking is still alive and well, it is even being rejuvenated, refreshed, enriched, of course when perceived in a broader context, on a global level.
Printmaking today is an important field of artistic expression, precisely because of its communicativeness, possibility of networking, broad field of activity, ability to convey messages, I would say it is the most contemporary, most effective and most democratic artistic field.
It is widespread in the world around us, a part of everything that surrounds us, of everything we see. It seems to be a field of art that is mostly enhanced by modern materials, techniques and technology that infinitely expand the possibilities for artistic expression, bringing new creative challenges.
While at the same time, side by side, classic, traditional printmaking techniques, in the best sense of the word, have retained their secure foothold. The beauty and magic of the printmaking alchemy, craftsmanship perfection, nobility of materials, precious knowledge and skills needed for each phase of the procedure, excitement of unpredictable moments and surprises, experiment, adventure ...
Combining the old and the new, the use of computers in the creation of prints, including industrial printing, as well as new materials, allow classical techniques to move to new levels, new dimensions reconciling high exclusivity and almost modern industrial mass production for mutual benefit.
From my own experience, I can say that it is precisely because of its communicativeness and democratic character that printmaking likes to travel and socialize, meet others and present itself, and it is perfect for international biennials and triennials of printmaking art. It all makes perfect sense, especially in times of lockdowns and isolation.

Thanks to the initiative, energy and the great work of my colleague Suzana Vučković, the two of us organized large international exhibitions of printmaking in Belgrade: the 1st International Printmaking Triennial in 2011; the 2nd International Printmaking Triennial in 2014; the 3rd International Printmaking Triennial in 2017 with numerous accompanying exhibitions and the 4th International Printmaking Triennial in 2020.

All for the love of printmaking.

It was infinitely exciting and inspiring to see hundreds of prints arrive from all over the world. Discover new artists, new expressions, new world centers of printmaking, meet old friends, delight in the values achieved, the energy that radiates from prints. To see so many extraordinary artists from China, hundreds of great prints.


The 4th International Triennial of Printmaking was held in the spring of 2020 – virtually, in new changed conditions, adapted to the world health crisis. The artists only sent photos of their works. The exhibition was virtual, as was the catalogue.
The virtual exhibition, 4th International Triennial of Printmaking and exhibitions of awarded artists from the 3rd International Triennial of Printmaking (2017): Zhang Minjie, China, Chantal Hardy, Belgium, Jelena Sredanović, Serbia, Henryk Krolikowski, Poland and Art Werger, USA, are located on the VIR(T)UELNI ULUS platform.
In Serbian:
In English:
The electronic catalog can be downloaded at:

New times, new ways.

But, still, it made it possible for us to see that printmaking was a vibrant medium in the world, to be informed on the current events in the world of printmaking, and that is of great importance. Thus, prints from the whole world arrived to Serbia, met our prints, and our prints went out into the world .This acquaintance, exchange, flow of ideas is of essential importance. As is the joy in the knowledge that somewhere in the world prints are made and cultivated with great intensity, that there are many young and very young artists who make prints, which again means that there is a young generation of printmakers and therefore that printmaking has a future.
These are all very positive sides of printmaking today.
Other sides of the medal are social, cultural, economic, health practices.
Since I am facing the sunny side, I will not deal with this dark side of the moon.

Biljana Vuković

Translation from Serbian: Vanda Perović

Biljana Vuković (1949. Beograd) graduated in 1973, BFA, at the Faculty of Fine Arts in Belgrade, where in 1975. post-graduate studies, MFA, class of professor Miodrag Rogić. From 1974. she had solo exhibitions (Beograd, Olbeni, Sarajevo, Banja Luka...) and group exhibitions nationally and internatiolly. As a guest artist she exhibited in Greece, SAD, Denmark. She was invited to exhibit and give lectures: France, Spain, Italy, Greece, USA, Germany, Holand, Hungary, Denmark. She was a professor of print art and drawing at the Faculty of Fine Arts (1984-2016), Beograde.


Opening of exhibition "Studenica" of B. Vuković, The Graphic Collective, May 31, 2010


B. Vuković, From Kalenić, 1999, aquatint, etching, 63x91 cm
B. Vuković, Studenica, aquatint, etching


B. Vuković, Studenica, 2006/07, aquatint, etching
B. Vuković, Studenica, 2006/07, aquatint, etching



Graphic Collective Gallery, Dragoslava Jovanovića 11, Belgrade, Weekdays 12 - 20h, Saturdays 12 - 17h, Sundays closed
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