Galerie Gilla Lörcher

Contemporary Art

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Ivana Kličković

paintings

Installation Views

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Installation view: Ivana Kličković at Galerie Gilla Lörcher 2020

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Installation view: Ivana Kličković at Galerie Gilla Lörcher 2020

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Installation view: Ivana Kličković at Galerie Gilla Lörcher 2020

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Installation view: Ivana Kličković at Galerie Gilla Lörcher 2020

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Installation view: Ivana Kličković at Galerie Gilla Lörcher 2020

Foto: CHROMA, courtesy Galerie Gilla Lörcher

Works

Acrylic on canvas \r<br>180 x 200 cm\r\n\r\nPhoto: Ivana Kličković

Untitled, 2019

Acrylic on canvas
180 x 200 cm Photo: Ivana Kličković

Acrylic on canvas\r<br>180 x 200 cm\r\n\r\nPhoto: Ivana Kličković

Untitled, 2019

Acrylic on canvas
180 x 200 cm Photo: Ivana Kličković

Oilbar and acrylic on oil paper \r<br>97.5 x 73.5 cm\r\n\r\nPhoto: Ivana Kličković

Untitled, 2017

Oilbar and acrylic on oil paper
97.5 x 73.5 cm Photo: Ivana Kličković

Press Release

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Galerie Gilla Lörcher | Contemporary Art is very pleased to present the solo exhibition of Ivana Kličković. „The focus of Ivana Kličković’s practice rests on the process of selection and “sampling” of culturally and chronologically distant visual patterns – such as Japanese woodblock prints, drawings of old theatrical scenery or digital images pulled from the Internet – which she recreates on canvas as simultaneously overlapping layers of reduced image fragments that form large-scale compositions, spatially flat and open to interpretation, both abstract and/or quasi-representational. Confirming atemporality as one of the main features of her painterly gesture, Kličković indirectly but accurately comments on the multidirectional, constant and often chaotic circulation of images in our everyday lives, in which everything has already been seen and exists intertwined, independently from isolated cultural patterns and social phenomena. By reacting to and participating in a global economy of images, in which dissemination of visual information is organised in such a way, Kličković takes over and examines the logic of overlapping, mixing, flexibility, conflict, and simultaneity of visual motifs and styles within her own painting structure. These paintings are not created with pretence to either semantic coherence or didactic intent. If a reference to history or genre of painting is to be used in relation to them, then the landscape, in its broadest sense, could serve as the methodological framework – a landscape that, in Kličković’s paintings, appears as a section of an infinite horizon from which the sequence of the visible is isolated by the eye. In this case, however, we are looking at imaginary landscapes that open up as vast spaces built on a network of fragments overlapping in a way that involves multiple views and that, in this sense, cannot be limited to what is comprehended exclusively by any single eye.“ (Text Ana Bogdanovic)

Ivana Kličković was born and raised in former Yugoslavia. She graduated from the Faculty of Fine Arts in Belgrade, where she received MA in Painting. Between 2000 and 2010 she worked as research associate, assistant lecturer and a docent at the Faculty of Architecture in Belgrade. Since 2010 she has been based in Berlin, where she developed a multidisciplinary practice based around an idiosyncratic exploration of correspondences between painting, drawing and photography, and their relation to film and theatre design.
Kličković’s most recent solo exhibition, Paintings was presented in 2020 in Gallerie Gilla Lörcher in Berlin. Previous solo exhibitions include here... the moon, at the Cultural Centre of Belgrade; the Faculty of Architecture; Belgrade Youth Centre; and Centre for Cultural Decontamination, all in Belgrade; and Gallery of Contemporary Art in Pančevo, Serbia. Her work was included in a number of significant group exhibitions in Serbia, including at the Yugoslav Biennial of Young Artists in 1998 and 2004; the 39th and the 42nd October Salon, in 1998 and 2001 respectively; the SKC Student Cultural Centre in Belgrade in 2007; and Arcadia Unbound at Funkhaus, Berlin in 2015. Her paintings are held in the collections of the Belgrade City Museum and the Telenor Art Collection.
In 2019 Kličković designed costumes for Danke Deutschland, directed by Sanja Mitrović at Schaubühne in Berlin. Previously, she collaborated on projects for a number of other theatres in Germany, including Schauspiel Leipzig, Schauspiel Frankfurt, HAU Hebbel am Ufer and Theater an der Parkaue in Berlin.
In recent years Kličković has often worked as creative collaborator with British artist Phil Collins, contributing elements of photography and design to projects including This Unfortunate Thing Between Us (2011), my heart’s in my hand... (2013), Tomorrow Is Always Too Long (2014), and Ceremony (2017). Her photographs are the cover art for Crab Day (2016), Rock Pool (2017) and Reward (2019), three of the most recent releases by Welsh pop musician Cate Le Bon.