Aleksandar Gligorijević entered the world of Serbian sculptural art when he had his first, hugely
successful exhibition, which was held in 1997 at the Corner Blow art gallery in Los Angeles, in a Piranesi-
style cross-beamed architectural setting.
After a series of exhibitions, Gligorijević presents his latest works at the Nova art gallery. These works
are made completely in continuity with his initial creative vocation. Further developing his vision of
sculpture as a creation that is entirely meaningful only when it brings joy and enjoyment to the author,
the beholder and the art collectors of his works.
This time, Gligorijević exhibits in a classic art gallery, with white-coloured walls and white pedestals as
the only elements of the interior design, which makes the artist’s sculpture markedly open to view.
Given that there is no frontal or lateral view on this sculpture, it stands there self-sufficient and on its
own, dominantly imposing itself on the space around it, which makes it appear additionally privileged
there.
This artist makes sculptures that are shaped in perfect forms, which arouse countless prolific
associations. Thus, things that were discarded, formerly beautiful and well-proportioned artefacts,
become subject to artistic transposition, which places them into another material reality, giving them
new, peculiar energy, a new coherence and a new identity of a work of art with museological value.
Made creatively and with humour, discs, propellers, buttons, optical glasses and all kinds of moulds,
artistically raise the alarm as a warning to the modern deranged world.
In a time when museums are long closed, when figuration is officially brushed aside, under the pressure
of conceptualism and the dictates of globalization, the exhibition of Aleksandar Gligorijević is a welcome
reminder to all of us that there is still room for the essential principles of the original meaning of
sculpture.
Therefore, his neo-constructivism is worthy of great attention.