SOLO AND GROUP SHOWS

2018 Artist residency: Lisbon, Euroatla residency studio

 

SOLO

2020 Dubrovnik, Flora Gallery, "Forgotten passwords"

2019 Zagreb, Greta Gallery "Superficial cuts"

2018 Varazdin, GCV, "Cloud upon Lucky dragon"
2017 Gallery Galženica, "Reconstruction"
2015 Zagreb, Institut Français, "Moon and steel" (selection)
2015 Dubrovnik, Umjetnicka galerija (Dulcic Masle Pulitika), "Moon and steel"
2014 Zagreb, Gallery Greta, "Sun dogs"
2014 Dubai, Sake-no-hana club
2013 Zeulenroda, Germany, Bauerfeind Bio See hotel, "Anima" 
2012 Zagreb, Gallery Futura (with Ivona Jurić)
2012 Krizevci, Culture club, "Happines"
2012 Zagreb, Art caffe Divas
2011 Zagreb, Gallery Karas, Anywhere out of this world, (N'importe où hors du monde) 
2011 Zagreb, Gallery Događanja KCP, Hiperterminal
2007 Zagreb, Gallery CeKaO, If You can't beat them, join them II
2006 Split, Diocletian basement, If You can't beat them, join them 
2003 Zagreb, Drugi otok, Ficus Immaculata
2002 Split, Salon Galić, Znakolov «Pod sviću»
2001 Split, Multimedia center, "Dialog"
2000 Zagreb, Gallery Nova, "Ikonoglobala"
1996 Split, Gallery Po bota, "From myth to machine"

GROUP

2019 Zagreb, 5th Biennial of Painting

2018 London, Delphian Gallery. Open call 2018
2017  52nd Zagreb Salon of applied art and design, The In/Applicability of Applied Art
2015 Split Salon, Contemporary Visual Arts Biennial, Split, Croatia,
2014 Koln, Handwerkskammer zu Koln, „Kroatien-Kunst-Koln“
2014 ProArt Gallery, Dubai, "The Big Picture"
2013 Galerie Zbraslav, Česká republika, "People-metr"
2012 Paris, Musée de la Chasse et de la Nature, Croatie la voici, des cibles peintes croates à l'Art contemporain (20 December 2012 - 31 March 2013)
2012 Umag, ARTUM 2- umaški salon, Muzej Grada Umaga 
2012 Zagreb, HDLU, Recent exhebition HDLU
2012 Rab, Galerija Makek
2011 – 2012. Samobor, Galerija Prica, II triennale autoportreta
2011 Zagreb, World Bank exhibition
2010 New York, MC Gallery, Inter imago New York
2010 Split, Gallery Kula (Milesi palace), Biennale Mediteran 2010
2010 Grožnjan, Gallery Fonticus, Element Earth
2010 Zagreb, 30. Salon of the young artists
2010 Zagreb, Galerija Marisall, Woman
2009 Split, THE KICK Multimedia Project ,street poster exhibition
2009 Krapina, Krapina museum, Zagorski salon
2009 Zagreb, HDLU, Recent exhibition
2009 Zagreb, Mimara museum, Passion…
2008 Zagreb, Gallery ULUPUH, Woman in illustration… 
2005 Zagreb, Gallery Matice hrvatske, Identity
2004 Zagreb, Dom HDLU, Annual exhibition HDLU-a
2002 Zadar, Gallery of art, Blue salon, 16. triennal of croatian painting
2002 Zagreb, Gallery New Fragments
Rijeka, Galerija Gal, New Fragments
2001 Slovenia, Bled, World festival of art on paper
2000 Venezia, Leggende Africane
Slovenia, Kranj, World festival of art on paper
1998 Zagreb, Gallery SC Graduated students exhibition
1997 Zagreb, Gallery Vladimir Nazor, Graduated students exhibition
Split, Multimedia center ,Traditional media exploring

FILMOGRAPHY

https://www.imdb.com/name/nm3500165/

FORGOTTEN PASSWORDS

Gallery Flora

28 July - 15 August, 2020

With his second solo exhibition in Dubrovnik Aleksandar Bezinović presents to the public a series of works that seem to differ completely from his previous one; for example, his latest artworks are devoid of any figuration and are almost utterly lacking color. Yet, what is inherent in both the former as well as the latest cycle, which the artist enigmatically calls “forgotten passwords”, is exploration of the painting medium and the constant interplay between creation and disintegration, emergence and disappearance. In these monochromatic works Bezinović tackles the opposites again – straight lines and lazure strokes are in incessant dialogue with curves, frayed brushstrokes and references to the matter and physicality of the surface and applied paint. The painter’s system is closed only as much as it takes for the incompleteness and imperfections to become manifest while the general impression is that of layering which induces energy into the reduced and famished forms. The well-known figural and symbolic motifs from the earlier paintings have disappeared and Bezinović is taking us into the realm of geometry: he starts with a perfect form, the circle, then multiplies and halves it and ultimately correlates it with barely visible linear network and the canvas format. The placing of circles into the set format and their connections to form new as well as recurring forms reminds one of a process of decoding some unfamiliar and magical system, of opening and closing of new spaces within the painting. At a glance, they appear to be very similar but after a longer observation, differences become more significant than similarities. (A.B) The element of corrosiveness and erosion, introduced in an almost alchemical manner into earlier works (the artist himself initiated the process of corrosion on steel plates) is to a certain extent present on all exhibits – matter restrained by a linear grid is being disintegrated and tends to disappear, lines thicken in a game which discloses the complex construction codes, paint peels off and even the surface is not white but yellowish, in pale brown hues with greenish sparkle. The artist deconstructs and constructs the variations anew thus creating a system similar to an old-fashioned clogged mechanism covered in rust rather than some virtuoso geometric system found in classic geometrical abstraction. Nevertheless, associations to Knifer’s meanders and abstract sculptures of Vojin Bakić can be discerned in the visual comparative field where Bezinović also places archaic and geometric painting of the Greek vases and calligraphy. In the interrelation of line and texture, in disclosure or re-constructing of geometrical codes, the artist, through the working process (his own words), suggests to the observer that the concealed is more important than that which is visible and obvious. If we draw a parallel with the earlier works it is obvious that the disappearance from the canvas of figural motifs sharply focuses the gaze of the viewer to interrelations of proportions, white and darkened parts of canvas, the full and the empty, namely, to pure laws of visual arts. Aleksandar Bezinović never ceases to vigorously explore them in his artistic practice, creating entangled “knots”, those suggestive structures that open realms of imagination and contemplation. —Rozana Vojvoda

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