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Vladimir Veljašević

Printmaking, mostly recognized as a traditional artistic procedure, has evolved from a hermetic-crafts based discipline to a flexible medium that has, in various ways, become integrated in the most current artistic phenomena.
From the traditional procedures of printmaking and the basic concept, today’s printmaking is perceived to be much more flexible as it has become a part of the broader field of most artistic practices of the second half of the 20th century.
Since the appearance of Fluxus, the trend of acknowledging and using prints in a broader context has been constantly evolving into countless variations. In addition to the basic, still current, market definition of an original print as an art object, graphic design is also defined as contemporary print, as are various self-published projects, graphic novels or artistic comic productions, hand-printed posters, album covers… to today's accessible desktop publishing and digital images… By perceiving all types of art related printing as copies, printmaking has found its place in socially oriented conceptual and programmed projects.
From the production of McSweenye’s art books to Reverend Billy’s guerrilla activities, contemporary printmaking has been following current art trends and has shifted its focus towards an interdisciplinary way of conceptulizing a work of art, being ignorant of or deliberately ignoring the classic technological and production concept.
The valorization of an idea is almost the only legitimate artistic procedure in the post-media era. The implied realization of a work of art devalues another important factor in all types of artistic activity - chance. In traditional art and new media technologies, chance in the realization of a work of art is the moment when the artist recognizes / decides on the final appearance and fate of his/her work. Knowledge of and respect for technological processes in art are consciously denied by flirting with subculture phenomena, by the art critic community ignoring certain artistic practices considering them to be less valuable and by indulging the curators who make gallery programs by practicing double standards.
The international art market and art scene provide a vague answer to the question of assessing the value of an original print today. Proven values of artists who have become brand names are not questioned, current artists , contemporary superstars of the art world have a parallel production of their works in all offered media, even in the traditional art of printmaking.
Outside the main, market currents, there are two opposing "schools" of thought – a contemporary one, which defines printmaking through the prism of the current perception and assessment of a works of art, and a hard line one - a traditional school based on cultivating classical techniques on the level of craftsmanship. The latter, often tolerating the absence of talent and creativity, hidden behind the role of custodians of true values, is the one that mostly devalues the position of prints.
Regardless of all definitions or evaluations, an original print, or just a print, is an all-present and vital medium firmly established in its basic postulates, currently experiencing a revival through various forms of commercial printing, screen images and the digital industry.

Vladimir Veljašević
September 13, 2020

Translation from Serbian: Vanda Perović

Vladimir Veljašević (1969. Smederevska Palanka, Serbia), graduated in 1995 at the Faculty of Fine Arts, Belgrade, postgraduate studies, 1998, class professor Mileta Grozdanic. Solo and group exhibitions since 1998, nationally and internationally (Kanagava, Prague, Fredrikstad, Viroinval, Sofia, Thessaloniki, Saporo, Seul, Varna...). Selected awards: Big Award for visual arts from the foundation Rista and Beta Vulanovic, 1995; Award by the National Museum at the 5th International Biennial of graphic art, Belgrade, 1998; Politika Award from the foundation of Vladislav Ribnikar, 1999; Award by the sponsors at the 5th International Biennial of graphic art, Saporo, Japan; Award at the 6th International Biennial, graphic arts, Kaixanova, Spain, 2000; Big Seal Award of Graphic Collective, 2002; Award at the International exhibition, graphic art, Kluž, Romania, 2003; Award at the 5th International Biennial, graphic art, Cairo, 2006. Professor at the Faculty of Fine Arts, Belgrade.


V. Veljašević, No title 3, 2001, intaglio, 70x100 cm
V. Veljašević, No title, 2014, woodcut, 15x20cm


V. Veljašević, No title, 1997, intaglio, 70x100cm
V. Veljašević, No title, 2017, silkscreen, 20x15cm

V. Veljašević, No title, 2011, linocut, 15x35cm



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