MILA  NIKOLIĆ  ARCHITECT

In the life of each of us there is a painting that permanently defines his understanding of art and forms his worldview. For me, that is the painting "Bunjište (Midden)" by Božur Ivanović, with which I grew up exploring its forms, questioning its meanings and rejoicing in its colours. It is a part of one, today almost unknown, exuberant painting cycle of this author, whose creative opus is for the first time shown systematically to the public through these exhibitions.

​

Only a comprehensive chronological review allows us to discover the links, themes, media and poetics of Ivanović's works, which change as a reflection of different life stages, environments and interests. After graduation, he replaced his student fascination with fresco painting for the professional restoration and copying of frescoes over the monasteries of Serbia and Macedonia. This influence is reflected in his early works of strong colours and contrasts and large formats, such as "Redenik (Bandolier)", "Bunjište (Midden)" and "Rađanje života (The Birth of Life)", which express the enormous energy and optimism of the young author pondering over the world and life.

Dedicated in the maturity to the decentralization of culture, Ivanović introduces the motives of the Banat village into the abstract figuration of his paintings, defining his most famous creative phase "Ambari (Granaries)". In his paintings, the Pannonian fields and their rich crop overflow into the explosion of colours and shapes of the Banat granaries and barns. Full to bursting, they symbolize abundance and glorify life, floating through the endless plain with which they merge under the heavenly vault. Their spraying and deconstruction in Ivanović's drawings in ink acquire another meaning. By distorting the forms, breaking up the elements, splitting the paper and combining techniques, the artist emphasizes the deterioration of the village, hurrying to record its beauty with a quick and confidant gesture and to invite us to its preservation and revival. This encounter of nature and civilization, spiritual and material heritage, is retained in late Ivanović's works, in which he captures with easy strokes the Boka landscapes of his peace.

​

In Ivanović's scenography work, which includes performances "Kir Janja", "Partija šaha (Chess Game)" and others, there are the same, recognizable artistic expression and plastic and architectural elements. This retrospective allows for that significant segment of his creation to be re-documented, interpreted and evaluated, almost half a century after it was created and awarded for its translucency and elegance. 

​

It is less known that Božur Ivanović, in addition to fine arts and scenography, successfully dealt with graphic design and illustrated book covers. In the 1970s and 1980s, he created the visual identity of numerous companies in Serbia, including the famous "Utva" logo, "Ratar" flour packaging that we still remember, and a series of labels for “Vršački vinogradi”, some of which are still in use. This work is not covered by the retrospective – the research on Ivanović as a designer is still ahead of us.

​

Božur Ivanović belongs to perhaps the last generation of painters-bohemians, urban legends and people grand in every respect, who openly criticized the society and the system of that time, but remained in the country; who bypassed the establishment and business planning and management of their lavish talents and careers. Ivanović exhibited and was awarded at several collective exhibitions, but he was prevented from organizing solo exhibitions as a mature artist because of his political inadequacy. His works are only posthumously presented completely by the exhibition "Ambari" on the occasion of the 10th anniversary of his death at the Pavilion of the Republic of Serbia at the World Exhibition in Milan 2015 and by this retrospective in Pančevo, for which he was deeply life-related and creatively bound, in order to make them closer to the domestic and the international public, to perceive and study his opus and to recognize his contribution to Serbian art.

​

Mila Nikolić (from the exhibition catalogue)