A Fusion of Tradition and Contemporary Design

Fusion of Tradition and Contemporary Design

The Annual Exhibition of Student Works from the Design Department of Polytechnic Academy

November 24 - December 12, 2025

The Polytechnic Academy of Vocational Studies is a public higher-education institution that has been educating young professionals across a wide range of fields for 65 years. Today, approximately 35 study programs are offered at the Polytechnic Academy in the technical-technological, artistic, medical, and social sciences and humanities fields. Since the early 1990s, when the first study programs in applied arts and design were launched, up to the present day, the education of design students has represented one of the key pillars of the Academy.

The title of this year’s exhibition, “A Fusion of Tradition and Contemporary Design,” presents a comprehensive overview of the innovative and inspiring works of the Academy’s students. The exhibition brings together works by undergraduate and master’s students, offering a unique insight into various fields of design and the ways in which young talents today interpret, connect, and transform heritage and contemporary trends.

Graphic design presents visual solutions that convey complex messages through carefully balanced principles of aesthetics, typography, composition, and functionality. User interface and user experience design (UI/UX design) explores the interaction between users and digital products, creating intuitive, accessible, and visually appealing solutions based on the analysis of user needs and behaviors. Fashion design of leather products reveals original approaches and stylistic concepts through creations that combine individual expression, contemporary trends, materiality, and the functionality of fashion forms. Interior design shapes spaces that simultaneously meet functional requirements and create inspiring, pleasant, and ergonomically optimized environments for contemporary living and work. Industrial design integrates engineering, technological, and aesthetic principles in the product development process, aiming to achieve high functionality, sustainability, and a clear visual identity. Concept and character design explore the creation and development of unique characters, visual worlds, and narrative universes, using digital tools, animation, and contemporary forms of visual expression. Master’s students of Interdisciplinary Design expand the knowledge acquired during undergraduate studies, developing projects that connect multiple design fields through innovative, research-based, and critically oriented approaches.

by Ana

15th GRIFON 2025

Exhibition of Selected Works from the 15th Contest for the Best Graphic Design in Serbia, Republic of Srpska, and Montenegro in 2023 and 2024

October 30 - November 25, 2025

On Thursday, October 30, at 7:00 PM, the 15th GRIFON will be officially opened at the Graphic Collective — an exhibition of selected works from the open call for the best graphic design in Serbia, Republic of Srpska, and Montenegro for the years 2023 and 2024. Founded in 1996 through a collaboration between the Graphic Collective and Quadra Graphic / now SINC NOVATION, GRIFON was initiated with the aim of reviving the spirit and continuity of the Kontakt exhibition, through which the Graphic Collective pioneered and shaped the graphic design scene during the 1970s and 1980s of the 20th century in the former Yugoslavia. Over three decades of activity, the GRIFON project has developed into one of the most significant specialized biennial events dedicated to graphic design in the region.

In an era of digital interaction and global trends, graphic design, at the intersection of art, technology, and communication, does not merely convey a message, but creates an experience, becoming an interactive, socially engaged, and multilayered form of visual culture that simultaneously informs, inspires, and questions the contemporary artworld. The GRIFON exhibition demonstrates precisely this complexity of contemporary graphic design.

At this year’s exhibition, through the presentation of 39 authors and 79 works across eight categories — books and other publications, visual identity, posters and advertising, packaging, typography, promotional materials and papers of value, film, video and TV graphics, as well as web design — GRIFON provides insight into current production and authorial achievements, presenting designers whose creative work, education, or origins are connected to this region. GRIFON not only evaluates current production but also sets professional standards, opens space for dialogue between different poetics, and provides the audience with insight into how relevant, engaging, and personally authentic design can be.

The selection of works for this year’s exhibition was decided by a Selection Committee composed of prominent experts and artists: Dr. Elda Stanković, Assistant Professor, and Stefan Ilić, Assistant Professor, from the Faculty of Applied Arts, Belgrade; Ljudmila Stratimirović, visual artist and artistic director of KC Grad; Dr. Vladimir Milanović, Associate Professor at the Faculty of Fine Arts, Belgrade; and Igor Oršolić, creative director.

JURY DECISION

The jury for the GRIFON Award, which is being presented for the 15th time this year for the best graphic design in Serbia, Republic of Srpska, and Montenegro in 2023 and 2024, consisting of: Jovan Čekić, Professor; Vladan Joler, Professor; Kristijan Šujević, Producer; Vladimir Mitrović, Creative Director; Petar Stošić, Graphic Designer; and Sava Ristović, Art Historian, met at the premises of the Graphic Collective on October 29 and, after reviewing 79 works by 39 authors across all eight categories, decided to award the GRIFON Award to: Marina Milanović for the multifunctional work “Cards for Peripheral Visions.”

The jury considers that Marina Milanović uses legible visual signs and textual messages in her work that are related to experiences from medical practice, closely related to the field of cognitive psychology; people unconsciously receive and remember visual information and relate it to other visual information, and this entire process is connected to the meaning of the textual message on the other side of the card. The set of narrative cards consists of graphic representations of ideas developed by a group of small independent publishers on the periphery of Europe as support for other collectives in collaborative processes. The cards can also be viewed as a summation of shared experiences from collaboration and desire to work better and more successfully as a team. Each graphic representation of information on a card offers a unique scenario that encourages reflection and discussion on how communication among people in groups and teams can be improved.

“Cards for Peripheral Visions”, in its artistic and conceptual framework, represents a valuable contribution to cultivating new creative ways of communication and cultivating responsibility, values significant in our culture, especially in a time when healthy communication at all levels is dramatically endangered. By pointing to a cultivated continuity and high professional standards in the mission of engaged cultural action, Marina Milanović demonstrates artistic refinement and restraint, as well as graphic clarity and communicativeness, which distinguish her work as a complete and multilayered solution of contemporary design.

In addition to the GRIFON Award, the jury also presented awards in the following categories: April Studio for “Koozmetik” in the Packaging category, Korak Studio for “Serial Chiller” in the Posters and Advertising category, Borut Vild for “Šijan in the Mirror of Criticism” in the Books and Other Publications category, Katarina Popović for “Political Graffiti on Yugoslavia in the Era of (Post-)Socialism”.

by Ana

Milica Bjelanović - Sublimation

Milica Bjelanović – Sublimation

Selection From Oevre

September 29 - October 22, 2025

On Monday, September 29, at 7 PM, exhibition of prints and drawings by Milica Bjelanović, recipient of the Grand Seal Award for 2025, will open at the Graphic Collective Gallery.

Present on our art scene for more than four decades, Bjelanović is an established creative personality whose work has been marked by continuous practice and metamorphoses on both conceptual and visual levels. From figurative scenes of intimate interiors charged with metaphysical tension and sensual female nudes, through associative and abstract drawings, to a series of experimental monotypes “Imprinted Bridges” and pop-art–inspired prints, the artist’s visual language is the result of carefully considered relations among the structural elements of the composition. In recent years, the artist has been exploring the possibilities of visual expression through the reduction of form, to a monochromatic sign that sublimates simplicity and the dominance of creative substance.

She graduated from the Academy of Arts in Novi Sad, in 1988, class of Professor Živko Đak. The experience of this distinguished art school resonates in her work as an evidence of a personality characterized by keen perception, cultivated sensibility, and perseverance.

An important aspect of the author’s creative process is also the repertoire of themes and motifs that communicate layered poetic-philosophical and spiritual-emotional meanings (time, space, women’s spaces, bridges, direction, boundaries, center, horizon, dialogue, lighthouse, luminosities…). Thus, in the series “Under the Glow of the Stars”, the artist reexamines the position of a woman through the prism of family and social norms. The imprints of cracks of the bridges of Zrenjanin, evoke associations with destruction, deterioration, and transience, while the network of black lines through which light breaks through in her drawings reveals a “clear intention to find a way out, through confronting oneself,” as noted by theorists.

The orthography of her artistic language has evolved, as has its discursive foundation. The titles of the series presented at the retrospective exhibition in Zrenjanin, in the winter of 2023 – “Harmonious Ambience”, “World of Intimacy”, “Intimate Infinity of Interiors”, “The Mystery of Intimacy”, “Over the Riverbank”, “Imprinted Bridges”, “Drawing Luminosities”… (Slavica Žarković) – serve as guides through the oeuvre and its spiritual, emotional, and intellectual transformations;they also reflect the overcoming of obstacles as necessary factors in humanity’s ongoing search of meaning. Today, in a mature creative phase, she sharpens the focus of her conceptual approach by reducing information to the essential, close to the idea – the less is more.

Milica Bjelanović has been a member of SULUV since 1989. She has exhibited in about 25 solo exhibitions and more than 150 group exhibitions in country and abroad; a recipient of numerous awards, her works are held in collections worldwide. She lives and works in Zrenjanin.

by Ana

Mila Sretenović - Conjunction of Opposites

Conjunction of Opposites

PRINTMAKING AND VIDEO EXHIBITION

August 26th - September 6th, 2025

This exhibition presents the artist’s final doctoral project, exploring the archetypal motif of the union of opposites through alchemical and Jungian symbolism, expressed in both printmaking and video. Drawing on Jung’s concept of reconciling opposing archetypal principles—conscious and unconscious, spirit and matter, masculine and feminine, reason and feeling, order and chaos, reality and imagination—the artist focuses on the process of inner transformation as a path toward individuation: the integration of the personality and encounter with the Self.

At the core of the exhibition is a cycle of thirty-three screen prints, inspired by motifs from the artist’s dreams. These visual forms trace the stages of alchemical transformation, symbolically mapping the journey of individuation. The accompanying video work expands the narrative, layering black-and-white with color imagery, rhythmic editing, and sound composition to create an immersive, multi-sensory experience.

Sretenović’s multimedia practice unfolds as a contemporary visual and sonic ritual, offering a renewed interpretation of the universal symbol coniunctio oppositorum while affirming the significance of interdisciplinarity in contemporary art.

Mila Sretenović (b. 1993, Belgrade) graduated from the Faculty of Fine Arts in Belgrade, where she completed both her undergraduate and master’s studies under Professor Dragan Momirov. In 2020, she entered doctoral studies at the same faculty, Department of Printmaking, also under Professor Momirov. In parallel, she completed undergraduate studies in English Language, Literature and Culture at the Faculty of Philology, University of Belgrade, followed by a master’s degree in 2016.

Since 2015, she has exhibited widely, with six solo and more than forty group exhibitions in Serbia and abroad. In 2017, she received an award in printmaking from the Faculty of Fine Arts.

by Ana

Ivana Flegar Stanković and Nikola Radosavljević – Invisible Catastrophes

This joint exhibition by two printmakers is visually structured across two levels of the gallery, allowing each artist to present an independent solo display of their works. Both Flegar Stanković (b. 1981) and Radosavljević (b. 1991) followed a similar academic path—earning bachelor’s, master’s, and doctoral degrees—and, typically for their generation, became engaged early on in academic institutions and intensive exhibition practice.

Stanković has held 12 solo exhibitions and participated in over 200 group exhibitions in Serbia and abroad. She has received 11 awards and authored two monographs: Collagraphy: Experiments in Printmaking and Paper Money: Production and Forgery. In addition to hand-printed graphics, she is particularly engaged in book design and printed media. The jury of the 2023 May Exhibition of Prints unanimously awarded her the Grand Seal (Veliki pečat) for her work Beyond the Sea. Throughout her artistic development, Flegar Stanković has liberated her creative potential, and Beyond the Sea affirms both her compositional skill and her distinctive approach to the printmaking matrix. In her research process, she treats the water surface with a unique sensibility and refined awareness of the graphic medium, confirming her artistic maturity and strong authorial mark.

Radosavljević is a prominent representative of his generation, whose talent, enthusiasm and youth, form a motivational blend of skills shaped by spontaneous activism and a burning urge for constant production. His award-winning work from 2022. stood out for its strong concept embedded in the graphic medium, where repetition of motifs reinforces the balance between conceptual and manual aspects. The linocut Roof Studies / Safe from Harm, a graphic object, encapsulates elements of the artist’s personal and emotional discourse, addressing the role of the individual in the history of the collective. The work is large in format—200 x 96 cm—and composed of 50 identical square micronarratives, executed with compositional intensity. In under a decade of activity, while exploring his identity, he has established a notable presence on the art scene through numerous solo projects. His artist books and new media-based graphic practices reflect distinctive conceptual ideas. The Grand Prize at the 23rd International Print Triennial in Krakow in 2024 stands as another key recognition of Radosavljević’s work.

by Ana

73rd May Exhibition of Graphics

IMPRINTS • TRACES • SPACES

ECHO OF FREEDOM

On Thursday, May 29, 2025, the 73rd May Exhibition of Graphics was opened at the Graphic Collective Gallery. As one of the most important and longest-running events dedicated to graphic art in Serbia and the region, the exhibition presents artists of various generations, sensibilities, and poetic discourses. Throughout its long history, the May Exhibitions have been an essential venue for presenting contemporary graphic production and a space that nurtures freedom — whether aesthetic, conceptual, or performative. For young artists, it offers a debut presentation, while also enabling insight into the ongoing development of established creators. This year’s exhibition, titled IMPRINTS • TRACES • SPACES - ECHO OF FREEDOM, naturally continues this creative thread.

With 125 participating artists born between 1935 and 2004, the exhibition confirms the vitality of the graphic art scene and testifies to the continued relevance of the exhibition. The exhibition includes works in various techniques — classical intaglio, relief printing, and digital prints on paper, foil, canvas, and fabric. Dominant among these are large formats, polyptychs, graphic installations and spatial installations by artists who are re-examining traditional techniques, transforming them through contemporary conceptual discourses and experimental approaches.

The works — abstract or figurative, fragmented, composed of rhythmic and repetitive forms, of marked drawing precision, visual articulation and expressive potency — communicate a wide range of meanings: intimate, symbolic, spatial, narrative, existential, and socially reflective. The rich presentation manifests characteristic tendencies that highlight current artistic preoccupations in contemporary visual practice, while the thoughtful selection of works contributes to the coherence of the exhibition.

The jury for the Great Seal Award 2025 convened on Wednesday, May 28, 2025, at 11:30 AM, and was composed of: Ljiljana Stojanović (printmaker), Zoran Todorović (visual artist), and Ljiljana Ćinkul (art historian). After carefully reviewing the works of 125 artists and narrowing down the shortlist of nominees, the jury unanimously decided to award the Great Seal at this year’s May Exhibition to Milica Bjelanović for her relief print "Monologue”.

Monologue, Milica Bjelanović, the Great Seal Award 2025.

Milica Bjelanović graduated from the Academy of Arts in Novi Sad in 1988, in the class of Professor Živko Ðak. The echo of that solid artistic education resonates in her work; while her creative experience has undergone metamorphoses across both conceptual and visual layers. It goes without saying that we live in a world without a shore, where survival is not easy—particularly in the arts and especially for the so-called weaker sex. Yet, Milica Bjelanović is an example of perseverance and talent, a person of keen perception and cultivated sensibility. Today, as a mature artistic personality, she sharpens the focus of her conceptual approach by reducing content to the elemental, close to the idea that less is more. In recent years, the artist has been exploring the potential of visual expression through the reduction of form and through asymmetrical activism. The awarded print “Monologue” is a prime example of that monochromatic sign that sublimates simplicity and emphasizes the dominance of creative essence.

by Ana

Small Graphic Forms

For your home and those you love(s) in the new millennium

Because graphics is both a school of art/life, but also a fluid space of the spirit, hidden from the hustle and bustle of a busy time

The founders of the Graphic Collective, in the early 1950s, organized sales exhibitions of graphics during the New Year holidays and thus mitigated the dominance of stereotypical kitsch versions of greeting cards of cooks and chimney sweeps on the market. The ideas of the artists gathered around the Graphic Collective (and their continuity) that an original work of art enters every home and as a suitable gift animates, delights, educates and nurtures a new audience, has been followed by new editions of Small Graphic Forms exhibitions for the eighth decade. Thus, over time, this camera exhibition became, along with the May exhibition, an important point for the presentation of the realistic scope of contemporary graphic production and an opportunity for its critical assessment.

Undeniably, the concentration of exhibitions dedicated to this creative medium in the past decades, along with numerous specialized international manifestations, affirms the openness of the artistic practice of small-format graphics; thus, in its unpretentious format, it continues to live as a free graphic sheet, carrying within itself all the changes of creative sensitivity, the power of the individual and the peculiarities of a certain graphic medium.

Certainly, it is not only about the trend of this art form and the reminder of early graphics when it was naturally related to the book format. In the synergy of its natural peculiarities, "graphics is the art of meticulous craft, small distance, working at a table - the work of an author's intimate space, and this is how it is experienced - from the hand, at a reading distance" - wrote professor Bogdan Kršić in his Panegyric in small graphic form.

The atmosphere of the exhibition is maintained by a large concentration of manuscripts of various poetic strongholds; along with the bards of our contemporary scene (1949) which maintain the tension of this exhibition, and new author appearances (2004) certainly renew its creative vitality.

The fact is that new technologies are changing our perception of art and that we live in a media-saturated world full of tensions. That world is dominated by a networked society that communicates more and more often at a safe distance - by e-mail and/or text messages. So where is the place for an exclusive gift, a work of art, graphics, small human attentions, someone will ask? Do the relevant artistic processes and strategies of their redefinition highlight the ever-current issues of the artistic and commercial value of the work?

Despite everything, with its concept of a compact whole, Small Graphics confirms that artistic practice and the rhythm of life can be on the same page; adjectives imaginative, witty, stimulating, positive, fun, un/expected, touching moments of joy. On the occasion of the Small Graphics exhibition, we also end with Andrić's thought: Be joyful whenever you have the opportunity to do so...

…And a minute of pure joy remains in us forever, like a glow that nothing can dim.

This motto of Ivo Andrić announces the authorial testimonies of a new generation of creators.

Ljiljana Ćinkul

by Ana

The Body of the Gallery – Identity of the Place

On the occasion of the first 75 years of the Graphic Collective

ARTISTS IN THE FIRST PERSON

40 laureates of the Great Seal

November 29 – December 19, 2024

Author’s exhibition by Ljiljana Ćinkul

The Graphic Collective celebrates its milestone anniversaries as festive yet working events, sublimating its artistic, cultural, moral, and material heritage structured into a visible cultural event. In the same spirit, the 75th anniversary of the Graphic Collective emphasizes the need to generate new creative energy and highlight the professional identity of this unique institution in national culture. In this context, the project The Body of the Gallery – Identity of the Place represents part of the authorial concept by Ljiljana Ćinkul, who approaches this year’s anniversary as a free creative dialogue in the visual field, featuring 40 distinct creative perspectives. The project’s title refers to the relocation of the Graphic Collective from its iconic address at Obilićev Venac 27 – the House of Graphics – and its prominent position on the cultural map of Belgrade (identity of the place), as well as the loss of the wooden paneling (the body of the gallery), a symbol and the substance in creating the identity of this House.

This is both a creative dialogue and an artistic document reflecting on the tradition of the Graphic Collective, pointing to the layered interconnection of conceptual ideas across the lines of historical/contemporary, traditional/current. Fragments of the “body of the gallery” – parts of the wooden paneling – represent material carriers of the “identity of the place” and energetic creative potentials that revitalize parts of the recognizable interior of the Gallery, designed by architect Predrag Ristić in 1963. The new creative context of this project – marked by the move to Dragoslava Jovanovića Street 11 – testifies to the preservation/nurturing of collective and/or individual memory codes of the artists, laureates of the Great Seal of the Graphic Collective. Notably, the span of their years (1935-1991) reflects the enduring values of authentic memories from different generations of Artists in the first person. In the ideationally developed creative process, the artists created multimedia projects – objects, installations, drawings, and graphic works – dedicating themselves to this cultural phenomenon from the authentic perspective of both actors and witnesses. With the intention that this project most effectively communicates in problematizing the Body and Identity, the artists, in addition to visual works included their own texts, serving as a form of documentation (memories, impressions, events, meetings, awards…) about the Gallery, a cult place that has lived for 69 years in the intimate, chamber-like space at Obilićev Venac 27.

The monument to the Spirit of the House is also represented by iconic statements from notable figures (writers, critics, actors, directors, friends…) for whom the Collective was more than a Gallery; their authentic testimonies about the life of the Collective and its activist lines, tangents, of the very centre of contemporary culture, are written on the walls of the gallery forming an integral part of this work. The entire project is dedicated to the New Life in the New Space, with the belief that the mission of the Graphic Collective will continue to live on, both conceptually and institutionally, in the new millennium. Indeed, the very act of creation itself and life in the art is the victory.

by FgkAdNS

Cyrillic in Motion

October 21st - November 15th, 2024.

The Cyrillic in Motion project aims to promote and affirm the Cyrillic alphabet in works created in contemporary artistic practice. Different media forms dominated by the Cyrillic alphabet - Books and other printed publications, Visual identity, Calligraphy and Typography, Packaging, Filmy, video and TV graphics, Web design and Free art, i.e. an expression that is not strictly related to one of the listed categories. We are talking about different ideological and media forms that contain Cyrillic elements. By focusing artistic and design achievements on the Cyrillic alphabet, they made it visible and recognizable in almost all its segments in culture, art, media, economy and other forms of daily activity that are outside the existing categories. It promotes 51 authors and team groups hand-printed, printed or digitally realized products on paper, textile or screen form. The flexibility of this Competition is also evident by the inclusion of works by students who created the Fashion week collections specifically for the Cyrillic in Motion project. Also, children from the Art and Culture Center „Artelje“ made New Year's and Christmas cards in Cyrillic, combining handwork and digital printing.

Various activities and workshops will be organized during the exhibition.

by Ana

Branimir Karanović - Portraits of Belgrade artists in 1975 and 1985.

August 26th, 2025.

This selection of portraits of Belgrade fine artists promoted by the 1975 (1) and 1985 (2) installations in the Graphic Collective certainly represents, in the reception of the author's idea, Karanović's very significant role as a promoter of a new view of photographic art and its artistic status, and he manifested this belief through his own artistic practice but also through his distinguished pedagogical work at the Academy of Arts in Novi Sad and, later, at the Faculty of Applied Arts in Belgrade; today in the role of professor emeritus.

"The inventive shooting angle, the psychological justification of a certain moment, the functionally designed distance of the camera from the object, make this a series of photographs, portraits with an emphasized personal way of seeing. The author of these photographs is guided by a strong and safely oriented instinct," Dragoljub Kažić (3), Karanović's professor of photography, wrote in the catalog in 1975. About these early works from the 70s, in the inspiring observation of Pavle Vasić (4), the significance of the extraordinary sense for the artistic approach to the motif is highlighted, which is reflected in the understanding of the model and the environment, in the complex and rich idea of variations, which, so to speak, do not repeat themselves, but always give, with surprising novelty, the image of the artist. About the character of a work of art that belongs to history, Vasić also remembered Atanas Jovanović with regret that he did not leave us a gallery of Belgrade artists of his time. The critic points out, "How much richer we would be! In this respect, Karanović has paid back his time."

The authenticity of these portraits from the 70s is also enhanced by their curiosity, a kind of author's dialogue, the footnotes/notes next to their portraits testify to the echo of the moment: Radomir Reljić, Ovakvo je bilo moje lice 1973; Stojan Ćelić, Moments of recognition; Slavoljub Radojčić, Summer Scheme August 1973; Branislav Makeš and Božidar Džmerković with drawings; Matija Vuković, I always stand behind my sculpture; Marko Krsmanović, Mirror painting 1975 and drawings; Milorad Doca Janković, How long is that time and how long is a small drawing of Doca. Portraits from the 80s of Bora Iljovski, Peđa Milosavljević, Halil Tikveša, Stevan Knežević, Stojan Ćelić and Miodrag Rogić have no records. Preserved in Karanović's archive for decades, they are part of the reception of the importance of the character of an artistic portrait for cultural identity and the context of history.

Ljiljana Ćinkul

Catalog of works 1975. Strojan Ćelić, painter and printmaker, Vojin Stojić, sculptor, Milan Vrgović - Era, sculptor, Radivoj Subotički - Lala, sculptor, Miloš Bajić, painter, Danica Antić, painter, Božidar Džmerković - Džeri, painter and printmaker, Radenko Mišević, painter, Miodrag Janković - Doca, printmaker, Dragan Cigarčić - Ciga, painter, Marko Krsmanović, painter and graphic artist, Nandor Glid, sculptor, Zoran Petrović, painter and sculptor, Aleksandar Luković, painter, Slavoljub Radojčić – Caja, sculptor, Živka Pajić, painter and graphic artist, Duško Ristić, painter Radomir Reljić, painter, Olivera Kangrga, painter, Dušan Milovanović, painter, Halil Tikveša, graphic artist, Boško Karanović, graphic artist, Jovan Kratovil – Krata, sculptor, Branislav Makeš – Maki, graphic artist, Matija Vuković, sculptor, Dragoljub Kažić, painter and Aleksandar Zarin, sculptor, Nikola Janković - Koka, sculptor, Boško Karanović, graphic artist and Boško Petrović, painter, Atelier Marko Krsmanović, Detail from the studio of R. Suboticko, Detail from the studio of D. Ristić, Detail from the studio of S. Ćelić, Detail from the studio of Milun Mitrović, Studio of M. Bajić.
Catalog of works 1985 Ljubica Sokić, Nedeljko Gvozdenović, Pavle Vasić, Stevan Bodnarov, Peđa Milosavljević, Stojan Ćelić, Mihajlo Petrov, Mića Popović, Vera Božićković Popović, Halil Tikveša, Petar Omčikus, Slavoljub Čvorović, Dušan Otašević, Oto Logo, Ljuba Popović, Dragan Lubarda, Stevan Knežević, Bogdan Kršić, Tomislav Kauzlarić, Branko Miljuš, Radovan Kragulj, Miodrag Nagorni, Ilija Kostov, Bora Iljovski, Kolja Milunović, Predrag Nešković, Milan Žunić, Emir Dragulj, Živojin Turinski, Momčilo Antonović, Milan Blanuša, Milja Nešić, Dragan Rogić, Milun VIdić, Živko Đak, Jakov Đuričić, Mile Grozdanić, Božidar Damjanovski.
Dragoljub.Kažić, exhibition catalog, Grafički kolektiv Gallery, Belgrade, 1-10. October 1975
Pavle Vasić, Portraits of Belgrade artists, Belgrade, Politika, October 11, 1975.

Branimir Karanović (1950. Belgrade)

Graduated from the Faculty of Applied Arts in Belgrade in 1974, class of prof. Bozidar DŽmerković. Master's degree at the Faculty of Fine Arts in Belgrade in 1976, class of prof. Marko Krsmanović. Since 1974, he has exhibited independently (Belgrade, Ljubljana, Venice, Thessaloniki, Paris...) and at collective exhibitions in the country and abroad (Belgrade, Krakow, Edinburgh, Thessaloniki, New York, Tuzla, Berlin, Ulaanbaatar, Paris, Madrid...). Awards/selection: First Prize for Graphics Inter-debut, Kraków, 1976; Great Seal Award, Belgrade, 1977; First prize for drawing at the Yugoslav Portrait exhibition, Tuzla, 1979; Golden pin of ULUS, 1981; Award for photography at the October Salon, 1997; Grand prize of ULUPUDS at the May Exhibition, Belgrade, 2003; April award of the Belgrade City Assembly for creativity in the field of fine and applied arts, 2005. He was a professor at the Academy of Arts in Novi Sad, and then at the Faculty of Applied Arts in Belgrade; his title is professor emeritus.

by Ana