Now ︎
The Silent Gallery, curated by Paula Marschalek ︎︎︎ Kristina Kulakova - Dancing around Suffering, finding light in darkness
Next ︎
Gallery RIMA, Serbia ︎︎︎ IVACKOVIC: jazzing into abstraction
Previous ︎
Artemis Gallery ︎︎︎ Banz & Bowinkel, Dagmar Schürrer & Martina Menegon - Unlimited Creations Pt.2
editions of solidarity & care ︎︎︎ Jasmina Cibic -Political Decadence
︎︎︎ Sandra Hauser & Don Orèo - I Would Prefer Not To Episode 2 "Hier und dort und da"
KISTEREM ︎︎︎ The RANDOMROUTINES (Tamás Kaszás & Krisztián Kristóf) - Fence-Scape
KOENIG2 ︎︎︎ John Starks’ Witchspoitation Paintings
Schule Friedl Kubelka für unabhängige Film ︎︎︎
TRAILER 22/23 & Collective Images Class 21/22
OWG3 ︎︎︎ Albena — Donauinsel — Ostia — Seestadt — Varna - Vesselina Gankovska
K_2 department of painting ︎︎︎ spiritual flexing - Lennart Grau
rauminhalt_haraldbichler ︎︎︎ “H” is for DutcH -
Eva Crebolder, Steve Banken & Rene Siebum
SGA ︎︎︎ Cristina Fiorenza
and the editions ︎︎︎ Art in media - Out of the archive of museum in progress
Now ︎
The Silent Gallery, curated by Paula Marschalek ︎︎︎ Kristina Kulakova - Dancing around Suffering. Finding Light in Darkness.
Next ︎
Gallery RIMA, Serbia ︎︎︎ IVACKOVIC: jazzing into abstraction
Previous ︎Artemis Gallery Lisbon ︎︎︎ Banz&Bowinkel, Dagmar Schürrer and Martina Menegon -
editions of solidarity & care ︎︎︎ Jasmina Cibic - Political Decadence
SGA ︎︎︎ Sandra Hauser & Don Orèo -
I Would Prefer Not To, Episode 2 "Hier und dort und da"
KISTEREM ︎︎︎ The RANDOMROUTINES (Tamás Kaszás & Krisztián Kristóf) - Fence-Scape
KOENIG2 ︎︎︎ John Starks’ Witchspoitation Paintings
Schule Friedl Kubelka für unabhängige Film ︎︎︎
TRAILER 22/23 & Collective Images Class 21/22
OWG3 ︎︎︎ Albena — Donauinsel — Ostia — Seestadt — Varna - Vesselina Gankovska
K_2 department of painting ︎︎︎ spiritual flexing - Lennart Grau
rauminhalt_haraldbichler ︎︎︎ “H” is for DutcH -
Eva Crebolder, Steve Banken & Rene Siebum
SGA ︎︎︎ Cristina Fiorenza
and the editions ︎︎︎ Art in media - Out of the archive of museum in progress
IVACKOVIC: jazzing into abstraction
Gallery RIMA, Serbia
OPENING September 6th, 5-8PM
September 7-17, 2022
Mo-Sa 11AM-7PM
Djordje Ivackovic (Đorđe Ivačković, 1930-2012) was a Serbian born (formar Yugoslavian) and Paris based abstract painter whose art development and recognitions belong to the international art scene between 1960s and 1990s. His authentic art poetics originated from collision of two opposite approaches to abstract painting. The first one - expressive, free, improvisational - had its base in postwar French lyrical abstraction and American abstract expressionism, both experienced through the creative mind of a jazz musician. The second one belongs to the analytical approach to painting, contemporary in art practices of the time, dealing only with painting’s basic and elemental structural features such as format, dimensions, surface, line and colour. With a restless mind of a jazz musician and a rational approach of an architect Ivackovic created the unique symbiosis of expressive and analytical abstraction. This year marks the tenth anniversary of Ivackovic’s death (July 13, 2012), and the exhibition focuses on his paintings from the 1960s recalling his first Paris decade. The show: Paintings from the 1960s The 1960s were the first decade of Ivackovic’s life in Paris. During those years he held two solo exhibitions (1963, 1967), participated in group exhibitions among which are several dedicated to art inspired by jazz, as well as the Paris Biennial (in the selection of Young French Critics) in 1965, which brought him his first major international recognition and success. During the Phill Woods’ French tour Ivackovic was part of several multimedial evenings in 1967, painting his large formats “live” on the stage, while jazz band performed. Ivackovic’s works from the 1960s strongly relay on the expressive potential of his abstraction. Among all the Ivackovic's paintings they are the closest to revealing the mindset of a jazz musician in the world of visual arts. Particularly those from his first years in Paris (1962-1965), made him recognizable on Paris art scene as a painter with a deep jazz influence in both his creative approach to painting and the creative process itself. Although based on the accumulated knowledge of relations among elements of a painting, achieved through many sketches and studies, Ivackovic’s process of creating a new painting liberates the jazz musician within him: I accomplish every painting in continuity, in a single breath. I feel when a painting is finished and every time when I try to add or change something after a certain time, it would lose its real meaning, its identity, its being, because for me a painting is only a reflection of a certain state, of traces of excitement, evidence of a creative play in a given course of time, in other words, unique. MORE see @Gallery RIMA Serbia ______________________________________________________________________________ Picture(s) & credits 1. Dj. Ivackovic, PAINTING 26 VI ’63, 1963, oil on paper mounted on canvas, 65 × 50 cm 2. Dj. Ivackovic, PAINTING 26 VI ’63 / B, 1963, oil on paper mounted on canvas, 65 × 50 cm 3. Dj. Ivackovic, PAINTING 21 XII 63, 1963, oil on paper mounted on canvas, 145 x 119 cm 4. Dj. Ivackovic, PAINTING 10. VI ’81, 1981, oil on canvas, 200 × 200 cm ©Gallery RIMA |
Address: Schleifmuhlgasse 1, Top 11&12, AT-1040 Vienna
Opening hours see details of the current show & on appointment, click here
Opening hours see details of the current show & on appointment, click here
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