Bozidar Damjanovski

DAMJANOVSKI, Bozidar, painter and graphic artist (Skopje, 12 September 1947). After completion of Central School of Art in Skopje, in 1967 he enrolled in the Academy of Fine Arts in Belgrade, in the class of prof. Nedeljko Gvozdenovic, where he graduated in 1972. Post-graduate studies at the same Academy graduated in 1975 in class of prof. Radenko Misevic. He is a member of ULUS since 1972, and since 1995 has the status of a prominent artist. With the Republic Institute for Protection of Monuments of Culture in Skopje worked between 1965 and 1975 on the drawing and restoration and conservation works in Stobi, Veljusha, Bargala, Vodoča and St. Sophia in Ohrid. He prepared a large number of solo exhibitions and participated in numerous collective international exhibitions in the cities of the former Yugoslavia, but also in New York, Washington, Los Angeles, Cuba, Cyprus, Malta and New Zealand, in Manila, Geneva, Istanbul, Munich, Paris, Cairo, Amsterdam, Moscow, Beijing, Tokyo, Sydney, Rome, Athens, London and others. In addition to the Belgrade museums, his works are in private and public collections in the country and abroad (Portugal, Germany, France, USA, Canada, Mexico, Japan, England, Greece, Austria, the Netherlands, Iceland). For two canvas Painting in painting (1977), which has worked together with Aleksandar Cvetkovic, they shared the prize of professional jury and the audience of the Belgrade 18th October Salon (1978), and for a common picture Parameter of the universe (1978) awarded their first prize for painting on the second Yugoslav Biennial of art in New York (1980). Damjanovski won several awards for drawing Museum of the City of Nuremberg (1979), Politika Award for fine arts from Vladislav Ribnikar Fund (1981) Awards Gallery Lazar Vozarevic for drawing (1984), Milena Pavlović Barili diploma (1985), award for painting White Angel (1986), Grand Prix international Biennial of Miniature in Gornji Milanovac (1996), and the prize Osten World gallery of art drawings (2010). The jury of nine art critics and art historians awarded him in 1996 Charter for the selection of the 15 most important artists of the late twentieth century. Damjanovski is one of our first postmodern artist, representative of the new figuration and the forerunner of reconstruction paintings or art citations. In his artistic procedure is opposed the eternal and the ephemeral through romantic memory of the top masterpieces of art history. The conceptual comparison of two different and seemingly untouchable world connects magical or metaphysical realism filled with caustic humor and warning but always well-intentioned irony. Series recognizable works of art as a symbol of world civilizations are common in the background plastic-made female nudes crafted by nature. Cave paintings, Egyptian hieroglyphics, Greek reliefs or Leonardo’s self-portrait are confronted with some of the traces of today. Literally citation of art works from the past cultural and stylistic epochs, together with the beauty of the painted matter enchanting and trigger by unexpected compounds (White Angel from Milesevo – bird feather). Whether conflict or compares, Damjanovski fingerprints or touch in time called symbols of the past and present, memories, parallels or replacements presence. By convincing and surprising minimalist interventions artist penetrates into the space of observers, moving him to think about the limits of human power, as well as on crucial issues who we are, where we came from and where we go.

LITERATURE: B. Rajcevic, “Bozidar Damjanovski” Arts, 1979, 66; M. Bocnjakovic, Damjanovski, Cvetkovic, Mojovic, Rajcevic, Cacak 1980 S. Stepanov, “Analytical fine saying: records about Bozidar Damjanovski” Ranges, 1982, 29; Gr. author, Bozidar Damjanovski: Paintings and objects, Bg 1985 Z. Bozovic, V. Colic, Talks about art, Bg, 1989; Group of authors, Anthology of Serbian painting of the second half of the twentieth century, Bg 2004th.

 

LJ.N. Stosic