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THROUGH THE BINOCULARS OF THE GRAPHIC COLLECTIVE - MAPPING HISTORY


Miodrag Rogić


Miodrag Rogić, a striking artistic phenomenon, has been continuously present in the artistic life of Belgrade / former Yugoslavia for almost seven decades. He continues to be active in the new millennium with the vitality of a cultivated and authentic artistic style and a subtle personality of an urban intellectual habitus. His recognizable artistic preoccupations, already visible in his artwork from the 1950s, indicate a harmonious genesis and a carefully thought-out logic in developing a complete artistic oeuvre. His work was followed, reviewed and appraised by art critics - Pavle Vasić, Živojin Turinski, Siniša Vuković, Ljiljana Slijepčević, Ljiljana Ćinkul - and confirmed by national accolades and awards - the October Salon Award, the Big Seal of the Graphic Collective, the Politika Award for Fine Art, the October Belgrade City Award.


       

Miodrag Rogić, portrait, 1989;
Opening of the exhibition of Miodrag Rogić, Graphic Collective Gallery, 26.1.2009. (Lj. Ćinkul, M. Rogić, Lj. Slijepčević)


Rogić dedicatedly re-examines, levels and simultaneously solves plastic and conceptual dilemmas about drawings, paintings and printmaking. Among his contemporaries, he has developed a unique poetic sign characterized by his linguistic and stylistic elements. Focusing on a figure, nude, portrait, still life, using figurative artistic procedures of reduced elementary means close to the spirit of geometric graphism, Rogić transposes the impression / experience of what is seen on the plane with the ease of gestural drawing. Whether it is drawing, classical painting, printmaking primarily in the planographic technique - lithography, serigraphy or digital print- using Picasso's lapidary treatment of form, Rogić relativizes the technical-artisan connotations of the media, confirming the thesis on the superiority of the idea that exceeds the limitations of the media matrices. By demystifying the printing procedure, Rogić allows the technique to do what is necessary in order to multiply a certain visual content. He believes that the task of a printmaker is to rationally articulate the elements of his artistic expression, that is, to define them quantitatively and qualitatively, regardless of the choice of technique.


       

Video from the opening of the exhibition of Miodrag Rogić, Graphic Collective, January 26, 2009; camera and editing: Aleksandar Zlatanović
Photo from the opening of the exhibition dedicated to the graphic work of Marko Krsmanović, Graphic Collective, February 8, 2016. (V. Krstić, N. Stojsavljević, M. Rogić, B. Vuković)


His forms are "ascetically cleansed of the superfluous, rationally marked by a clean line, volume and light, developing a certain inner accord and harmony, at the same time transposing the expressive system of an individual mythology" (Lj. Ćinkul). Feeling that limiting himself to the specialized media of printmaking only narrows the possibility of verifying his own creative dilemma, Rogić simultaneously deals with this issue in painting and, of course, in the primary drawing. He describes visual information without revealing his own emotions and within the established system playfully treats artistic elements and makes semantic twists, which makes his art, as Ljiljana Slijepčević says: "visually dynamic, likable, even hedonistic".


           

Catalogs of Miodrag Rogić's exhibitions in the Graphic Collective (1969, 1972, 1988, 2009)


Rogić's prolific production can be followed by the chronology of his seven solo exhibitions in the Graphic Collective Gallery - 1956, 1959, 1961, 1969, 1972, 1988 and 2009. He has been an integral part of the driving spirit and zeal of the artistic collective at 27 Obilićev venac from the first decade of the Graphic Collective Gallery’s activity. His artistic activity is inextricably linked with the affirmation of printmaking and articulation of his professional and critical standards on the contemporary art scene. Miodrag Rogić was awarded the Great Seal of the Graphic Collective in 1989. According to the jury: "Rogić saw the printmaking media as a purgatory for dilemmas primarily because he did not accept the seductiveness of its technical possibilities. By sharp and reduced drawing, ascetic purification of form and laconic expression, Rogić builds a solid, autonomous system in which the simple, figural world is reduced to basic geometric elements, which has a certain inner balance and harmony whose crystal tone is so high that it touches the very nature of art." Miodrag Rogić’s oeuvre belongs to the corpus of national art history, characterized by the art critics as a reflexion of the new figuration movement.

Translation: Vanda Perović


               

M. Rogić, Untitled, 1956, lithography, 47x42 cm
M. Rogić, Untitled, 1964, lithography, 57x45 cm
M. Rogić, Head of a Woman, 1972, aquatint / etching, 65x50 cm


               

M. Rogić, Untitled, 1988, linocut, 69x52 cm, Great Seal Award 1989.
M. Rogić, Untitled, 2018, digital print, 70x50 cm
M. Rogić, Untitled, 2018, digital print, 70x50 cm


Miodrag Rogić (1932-2022. Belgrade) graduated in 1956 from the Academy of Fine Arts in Belgrade, class of prof. Milo Milunović and Boško Karanović, where he completed his postgraduate studies in 1959. He has organized 20 solo exhibitions of graphics, drawings and paintings in Belgrade and at collective exhibitions in the country and abroad. Awards / selection: Award for graphics and painting of the October Salon; October Award of the City of Belgrade; Award at the ULUS Autumn Exhibition; Lifetime Achievement Award for Graphic Arts at the Biennial of Graphics, Belgrade; Politician's award from the Vladislav Ribnikar Fund. Until his retirement, he was a professor at the Faculty of Fine Arts in Belgrade.




 

 

 
 
 
 
   
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