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THROUGH THE BINOCULARS OF THE GRAPHIC COLLECTIVE - MAPPING HISTORY


Challenge of Lino Engraving*
On the History of the Technique

The choice of media in fine arts is part of the creative act. Today, in Serbian printmaking, lino engraving can be seen as a cultural-historical and artistic phenomenon that has attracted prominent artists who working in the new material were challenged by provocative questions and creative doubts. Lino engraving - a giant engraving – emerged as an technique practiced by students in the printmaking classes of Boško Karanović, a professor at the Academy and its first mediator, who believed that a gravure in linoleum was not a novelty, as the technique of processing the linoleum block was partly the one used in engraving and partly a woodcut in the inverse sense. The experimenting of the Belgrade School with lino engraving coincide with the research on the value of material, its structure and expressiveness on the international art scene. The main initiators of the new technique were Boško Karanović and Božidar Džmerković. Lino engraving was perfected over time, through daily practice and small discoveries by the research and work of a larger group of artists in Belgrade, and nowadays it has become one of the hallmarks of the Belgrade Printmaking Circle. To imitate engraving in linoleum, today, in the creative sense, would not be anything more than a mere imitation if the engraving had not escaped and due to the invested energy of the artists stood out with the quality of its poetics, thus becoming an authentic creative medium. Within the framework of the complex issues of the plastic arts of the ninth decade in general and the medium of printmaking specifically, with all the tolerance for shifted media boundaries, lino engraving should be viewed in the context of a series of combined relief techniques; in the current vocabulary of printmaking disciplines, in addition to collagraphy, lino engraving has become synonymous with a new creative space, a sign of the times, an alternative.

Exhibiting artists: Zvonko Grmek, Dušica Žarković, Milan Žunić, Marija Ilić, Boško Karanović, Ljubomir Kokotović, Branislav Makeš, Vukica Obradović Dragović, Gordana Petrović, Miodrag Rogić, Olivera Stojadinović, Ljiljana Stojanović, Trajko Stojanović Kosovac, Nevenka Stojsavljević, Zoran Todović, Stanka Todorović, Senadin Tursić, Slavoljub Čvorović, Božidar Džmerković, Kemal Širbegović.

*exhibition auteur Lj. Ćinkul, with Z. Todović, part of the 33rd October Salon, Grafički kolektiv Gallery, October-November 1992.


                             
      Testemonies of the authors             B. Džmerković,                           B. Karanović,
      (from the catalog)                           The Head of a Warrior, 1965.       The Herzeg's Panel, 1967.


                                       
                                        Z. Todović, Who Killed Yesenin?, 1989.



 

 

 
 
 
 
   
Graphic Collective Gallery, Dragoslava Jovanovića 11, Belgrade, Weekdays 12 - 20h, Saturdays 12 - 17h, Sundays closed
tel: +381.11.3285.923; tel/fax: +381.11.2627.785