AQUA PERMANENS

MILICA ANTONIJEVI

NATIONAL MUSEUM KRALJEVO
1

2009
| |
GRAPHICS | PICTURES | DRAWINGS
2015

AQUA PERMANENS
Milica Antonijevi

AQUA
PERMANENS

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AQUA
PERMANENS
Extract from nature while
dreaming before it.
Gauguin

At one of Milica Antonijevis first exhibitions1, the critics noticed her artistic
maturity and unburdened serenity of spirit, which later turned out to be a real value
of her creative opus. Namely, after twenty years of devoted and continuous working
process characterized by decency in expression and modesty in experimenting and
modernist extravagance, Milica has stood out by her specific narrative and written
artistic expression. The author started to exhibit actively during her studies, which she
finished at the Faculty of Applied Arts and Design (Department of Applied Graphic
Design) in Belgrade in 1997, where she also finished her postgraduate studies at
the same department. She works as a docent teaching Drawing and Painting at the
Faculty of Philology and Arts in Kragujevac.
The nineties of the last century, in which the author grew up artistically, represent
the time of epochal crisis in all segments, and the art of that period saw fatigue of a
lot of postmodernist strategies2 as well as the simultaneous continuity and support
on conceptual and spiritual inheritance of historic Modernism. That continuity and
trust in essential properties and nature of art are the things that Milica Antonijevi
inherits as a doubtless value and final aim from her first days. Having been formed in
the context of a long and rich tradition, before all the classical means of the graphic
art medium, she built her world on the established modernist premises. In such
an artistic atmosphere, and in accordance with the nature of her work, she chose
graphic design as a discipline which carries valuable genetic codes from previous
experiences, from the entire heritage of this milieu.3 Curiously and consistently,
she started her research in the concrete ontology of a piece of art, looking for
coordination between formative and content elements, i. e. main statuses of a
piece of art. It can be read from her earliest works, in which she still researched and
reduced her artistic vocabulary, with a controlled game taking place on a flat surface
where composition and structural variants compete.4 With such visual properties,
which, we must emphasize, are accompanied by impeccable technical realization,
her works were gaining specific and recognizable narrative characterized by a
specific artistic system, analytical quality, order and structure. Almost without any
exception, all her works represent complex mental wholes, frequently composed of
several parts or elements, which are intertwined and which supplement one another
in a meaningful order. Before visualization of her work, the artist shapes, in a specific
working process, due to the sensitivity of technique and topic, formative principles
of her future work, avoiding improvisations and coincidences. Such a mental project
is in accordance with her nature and inner artistic impulse which contemplates the
structure of the painting, thoroughly, as a scientific structure5. Then she builds a
controlled procedure of visualization of ideas through a special poetic world, through
lyrical, subjective, subconscious and archetype symbols, because art should be a
statement of a specific poetic and symbolic expression, regardless of the technical
and formative procedure.6 Therefore, her works look very contemplative, formal,
and at the same time very sensitive. In addition, the semantic abundance of her
works as well as the wealth of the symbolic and sign world direct us to a specific
narrative and authentic poeticity of the authors individuality. Measuring aesthetic
and value characteristics of her work, it is also important to add Milicas versatility
in work, her research in several fields, i.e. several art disciplines / painting, drawing /,
which she conceives as meaningful independent units, connected by a motif or inner
logic of the authors coding of each individual work. It is a result of her commitment
and certain courage to transfer herself from one /graphic design/ medium, in which
she has proved herself as an extraordinary graphic designer7, with a striking and
systematized expression, into drawing and painting, too, and subject her own work
to (self)examination of visual and plastic possibilities. Although all her works, from
standard painting procedure to purified drawing, are connected by a fine line of
7

graphic shaping, it seems to us that such an approach gives a new sense to her work
and, in the spirit of modernist tradition, besides enviable skill, confirms her education
and intellectual devotion.
The thematic beginning of her work, in the last six years (20092015) has been
inspired by a wide heritage of the Mediterranean, the world rich in water expanses,
oases of peace and infinite sea depths, (un)real context, as Milica herself called it in
and around water. Such thematic determination and specific exaltation before the
origins of nature are not a wonder, because when we dream of human fulfillment, we
always turn toward the Mediterranean8, its mythological spaces and opulent nature.
In Milica Antonijevis works (Big Blueness, From the Depths, Large Dock), the real
world is recognizable in people / divers, sea animals, plants, ships which float across
the surface, with clear symbols and messages. In her next works (Sea Forms), specific
morphological impressions, which are left by various members of the sea microworld, with special sensory and associative emanation, occur. At the end, there are
the works in which the author almost completely deprives us of the representation of
seen (Dynamism of Water) and introduces us into the world of abstract visual forms,
which contain sensory and unusually powerful natural effects. In them, the author
abstracts the world of sea depths to the manifestation of geometrical elements /
circle, spiral, ellipse, vertical and horizontal lines/, connecting them into networked
and systematized visual representations.
All her works, classified into distinct medium wholes: Aqua Permanens (graphics),
In and around Water (paintings) and The Collector of Water (drawings) are connected
by the idea of water in the constant dynamics of flow, flickering and waving of infinite
sea depths, fragmentation, metamorphosis of shapes at rest and in motion, esotery,
variation and repetition of artistic contents. It is a world which, by its fine references
and allusions, breathes a quiet atmosphere, sometimes even an introvert message, but
also life fulfillment and the beauty of tranquility, which permeates shapes and colours,
phenomena and nuances of infinite expanses of harmony. That impression is added
by the authors skillful composition and balance between differently conceived
and treated surfaces9, in which there are no carrying structures and peripheral
parts, but a clear inner logic of painted space and authentic visual observation. It
seems that the authenticity of Milicas poetics stands out as a particular value of her
creativity, because to be modern in art is just an initial assumption of the meaning
of participation in the world of art, and creative in authentic is an essential sense of
every worthy recognition and evaluation of a piece of art.10 It means that the artist
seriously contemplates and controls the iconography of her work, doses, intertwines
and presents art disciplines, motifs, details and artistic means, consciously stressing
her own poetics and sensitivity.
The creation of Milica Antonijevi is a result of a long and thorough working
process, complex artistic physiognomy and consistent application of language. It
does not pretend to comment, suggest or provoke because for her a piece of art
/graphic, painting, drawing/ is a visual fact and a product of visual imagination. By
her diligent, continued and unpretentious work, she is an active participant in the
modern art scene11, where she masters the spaces filled with the meaning of life and
true artistic justification.
Suzana Novi

Rado Raku, Milica Antonijevi

Graphics, 2003, Gallery Grafiki
kolektiv, Belgrade

Jerko Denegri, A Possible History of

Modern Art (second revised edition),
Signature, BIGZ and the Museum of
Modern Art, Belgrade, 2008

Ljiljana Slijepevi, A Century of

Graphics, Belgrade, 2003

Rado Raku, Milica Antonijevi

Graphics, 2003, Gallery Grafiki
kolektiv, Belgrade

Vesna Todorovi, Milica

Antonijevi, Aqua Permanens,
Graphics, Gallery Grafiki kolektiv,
Belgrade, 2013

Jea Denegri, text in the monograph

The Academy of Fine Arts Trebinje,
2014

Vesna Todorovi, Milica

Antonijevi, Aqua Permanens,
Graphics, Gallery Grafiki kolektiv,
Belgrade, 2013

Georges Duby, The Mediterranean,

Human and Heritage, Paris, 1986

Olivera Vukoti, Milica Antonijevi,

In and around Water, 2014,
Smederevska Palanka

Kosta Bogdanovi, Traces of

Temporalization of Signs, Belgrade,
2003

10

A special segment is graphic

design production, where Milica
Antonijevi regularly participates in
the exhibitions of Grafiki kolektiv:
May Exhibition of Graphic art and
Small Graphic Forms.

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THE OCEAN
OF LIFE

The water of the oceans which surrounded the Earth after the Big bang is the primeordeal cradle of the cells of life of the whole wide world. By taking over the agents
from the atmosphere in the form of chemical elements, necessary for the building of
germs of the future live organisms, it became Materia prima, from which everything
on the Earth came about, Humankind included. We know that every earthen gene,
destined by the evolution to leave its cradle, remembers well its water origin. Coded by the evolution play, the germ of the Conscious Being- Man is further gifted by
9-month-long blessedness of the water protection. With a purpose. At that time and
on that spot his first life schooling takes place, with an important program of memory
evocing the generation of the primal germ. By leaving the safety of this protection,
Mans consciousness will once again forget the most important data about its origin
and the memory of the ocean of coming into life of the primal germ, thus supressing them to the vast space of the unconscious. They stary there for ever more permanently engraved, out usurfacing solely under the influence of the souls, and only due
to the spiritual or creative endeavours.
The perception of the oceanic origin of Life which is brought to consciousness by
Milica Antonijevic emerged from the depths of the unconscious, awoke the sleeping
memories and by the strong surge in the veins of this exquisite artist , was embodied
in the topic of water, the basic and unquestionable in all aspects of her visual artistic
work- the graphic art, painting and drawings. Milica firmly places her artistic and semantic research on the diluted conception of the most important element, as an entity of procreative significance and an affluent structural multi-layerness of its chemistry.
This serious thinking through presented in the form of the comprehensive iconic notes
about the findings, resembles the basis of some scientific work. Made into a whole,
Milicas works truly mark the complexity of some scientific structure, which at no time
left out or supressed equally serious category of the artistic message. On the contrary.
Such type of exquisitness can best be seen in Milicas graphic works. It seems as
if she divides so called primordeal soup into parts - from one work to the next she
imprints visual graphics of structures, sets up linear and network systems of general genetics, seen by the powerful inner eye. We percieve the exemplary consistency
of the visual expression as the result of the rationalisation gained by education. Being the result of the mental discipline, this layer has not been and probably should
not have been successful in hiding the secret works of the powers of the unconscious
and the influx of the special findings, stemming from its depths. These insights have
from come from Milicas unique entity and naturally and expectedly entwined with
the rich experience in knitting from the genetic chain of the genetic knitting collectivity, forming and defining the artist`s final organic-mental code. By pentrating the
skin of consciousness and by the use of the channel of imagination, Milicas unconscious has successfully determined the miraculous, esotherically oriented poetics of
her art. At the same time, it influenced her research-analytical vocation to ever lasting peacelessness of the one who wants to know.
Truly highly educated, Milica deftly uses her rich and well systematisized artistic
language of a high level graphic artist prone to purposeful experiments, to continuously posing the questions out loud, the questions as old as the time- who we are,
what we are and provide the original and bold answers right after. We can see them
in the form of symbolic solutions for the insights into deeper meanings of water as a
metaphore of life (aqua vitae), as the agent for the purification of the soul, or for the
changing processes of human spirit (aqua permanens), the water as the embodiment
of the female principle and its double dwelling, both in the woman and in the man
(anima&animus) the characteristics of water which right at the first glance point to
a wide range of versatile human experiences in the sphere of mythology and religion,
alchemy and psychology, philosophy and the science of nature.
The complexity of her thought does not end with the structural analysis of the
water compound. The forms of nowadays dwellers of the oceans surface at times
13

from the accentuated graphism and the geometrically apstractised world of water
molecules, but there are also the simple, floating human figures, in the shape of divers with the recognizible equipment. They always appear in male-female couples
which hold each other by hands, and vertically oriented move up. The suggestive association of the symbolic embodiment of the Anima and Animus in the mutual progress. Shapeless by appearance, reduced by simple shape, the Divers perhaps represent also a Shadow, the emanence of the unconscious, i.e. the projection of the irrational part of the being. All of that does not prevent either their probabale role as a
binding element between the prehistric germ and the moden Man.
The graphic works of Milica Antonijevi, seen individually present undoubtedly a marked visual artistic sensation. We firmly believe that the idea underlying them
was not so much directed to their independence, but more to their inter-connectedness into the unseparable artistic and ideal wholeness. Expressing herself in the imminent role of the builder Milica wisely shaped and presented a whole world which
by their message provokes and poses new questions; the world which no matter how
esotheric and introvert it is, successfully communicates with our questioning nature,
the world which is, above all, the reflection of the successful communication with the
questioning nature of its maker.
Vesna Todorovi, art critic
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Paintings and graphics, like two beings of the same organism, completely reveal the
affinity of the artist. The nature of procedures in these fine art disciplines influences two
modes of visual contemplation which differ, overlap and supplement each other thus
providing the exhibition ensemble with the properties of a coherent and, at the same
time, delicate unit. The thematic warp and woof of the work is the same, the expression
means are different, and artistic exposure of each individual work is a real visual odyssey.
It leads us to unforeseeable horizons of water scenes, areas to enjoy and artistic turns
with various solutions. The diver and the ship occupy the central place in this opus. They
are the metaphor of another world, which is far from ours. And that is why water as the
beginning and end of everything, as well as the blue colour which symbolizes truth, are
inevitable elements in the artists recent opus.
Milica took up painting challenges in 2011, and the artistic depths she has reached
discover her as a painter of subtle nerve for chromatic-tactile relations. Decomposed or
not, the painting unit is built on the balance of differently conceived and treated surfaces
which are connected by the same binding thread visual element as the imperative.
Basically, each field pulses with refined tone harmonies and structural nervatures, being
occasionally enriched with linear cuts, while a step forward is seen in the use of nonpainting materials allowing the painting to leave the real dimension of the canvas and
enter the space. Some of the modalities of artistic changes, which were most intriguing
for the artist, are separated into composition segments. If considered individually, each
field is a visual image per se. Certain parts possess informalistic properties, some have
polysemantic association, some fields are in the domain of pure abstraction, and, again,
all surfaces are woven of fine lyrical accords. The emphasis of the content is on the figural
representation whose position varies within the composition organization. No matter
whether they are in pairs, groups or alone, the divers are shown in their eternal aspiration
to reach the feeling of tranquility and free themselves from this-worldly anxieties and
vanity. In the close vicinity of weightless fields where the divers are placed, there is a ship,
it is within reach, because that is the arm swing which separates the diver from the reality
to which he can return at any moment, but he does not want to. He remains in the cassette
water vault and continues to search. Occasionally, the aim is materialized in the circle
as a metaphor of simultaneousness and original perfection. By repeating circular forms
and frequent geometrical organization of the composition, Milica Antonijevi insists on
linking opposite principles. This refers to clear geometrical forms and unconstrained
painting whirls with opulent chromatic and relief values, which take place within those
separate, demarcation fields. Dividing the parts of different visual situations, all finesses
of artistic expression become particularly noticeable, and the things that seemed
unlinkable at first sight are united in harmonious wholes. In contrast to the fragmentary
units, there are paintings without this type of demarcation, which are founded on the
same artistic principles. The freedom of expression which is thus accomplished serves
Milica Antonijevi to present the stratification of her creative being. This is supported
by the graphics based on precise line, subtle tone values and contrast relations between
their surfaces. They make the unit better laid out, striking and artistically purified.
This is another exhibition by which Milica, as a passionate devotee of art, confirms
that there are no limits in art, and the fine line which is present in her painting/graphic
stands there only to remind that, by definition, borders divide, but, essentially, they
connect, converting the bordered areas into an inseparable unit.
Olivera Vukoti

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Between the coast

and the horizon

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Water is a symbol of unconscious energies, formless forces of the soul, mysterious and
unknown motivations. Water is a spring of life, means of purification and centre of
renewal. Water is a source of life and an element of bodily and spiritual rebirth, a symbol
of fertility, cleanliness, wisdom, mercy and virtue. Water contains the sense of eternity.
Water symbolizes life Milica Antonijevi finds the Collector of Water.
But she reveals neither who he is nor what his collection is. And she leaves us to
search for the answers. Is the collection composed of purifications and rebirths, wisdom,
mercy and virtue? Or of the waters of rains and seas, lakes and rivers, clean waters and
bitter waters, troubled, living waters ? Or is it life from water? Or memories traces
of life built in a small, personal eternity? Or all that
nd the collector can be Milica herself? Or she is someone who helps the collector
by recording her own waters, who makes his ocean complete by adding her drops to
it? Are her notes a part of the collection, or paintings from the collection?
I cannot find the answers. I can only see the distant horizon line, which borders
the space, but indicates, by its uncatchability, an incomprehensible expanse. I see
water, sometimes silent and still, sometimes powerful and untamable. I see matter,
and it holds, as it was written by Lazar Trifunovi half a century ago the source
of energy, a great antithesis of manhood between life and death, the experience of
eternity, a doubt which is as strong as the feeling of indestructible reality. I also see
some small pieces of the real world in the midst of infinity. I see fish, shells, plants
Although people cannot be seen, they are there, on the ships or beside them, in the
submarines, on the coast, with their hooks
Milica Antonijevi draws. Following Leonardos words that the mind must
resemble a mirror, which always takes the colour of the object it reflects and is
completely occupied by the images of as many objects as are in front of it, Milica sees
the reflections of her own self in the unstable mirror of water. And, behind herself
the whole world. If inspiration exists, she finds it in those flickering reflections. She
talks to the shadows on the water. Her words are lines and surfaces. Her language is
light. And, the colour, when it is not there to resemble a mirror, just like water, is a
discrete ornament, a carefully contemplated accent which emphasizes the strength
and harmony of everything else.
The art of Milica Antonijevi is not imitation. It is searching for ones own
existence in the infinity of existence, for ones own eternity in the sea of eternity. It
is evidence of mans weakness before formless forces of the soul, and the power of art
to give sense to life. It is a moment of life between the coast and the horizon which is
kept in memory.

Vladimir Rankovi

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25

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Exhibited works

1. I, 2014,
, 70
2. II, 2014,
, 70
3. III, 2015,
, 70
4. IV, 2015,
, 80,5 x 122
5. V, 2015,
, 80,5 x 122
6. I,
, 70
7. II,
, 70
8. III,
, 70
9. , 2013/15,
, 6 x 65,5 x 51,5
10. Aqua permanens, 2012/15,
,
11. , 2011/14,
, 10 x 50 x 50
12. () I,
, 50 x 50
13. () II,
, 50 x 50
14. , 2013/15,
, 8 x 30 x 80
15. , 2013,
,
16. , 2010/13,
,
17. , 2012,
, 100 x 140
18. , 2012,
(), 3 x (70 x 50 ) 3 x (50 x 50 )

Graphics
1. Searchers I, 2014,
Relief printing, diameter 70 cm
2. Searchers II, 2014,
Relief printing, diameter 70 cm
3. Searchers III, 2015,
Relief printing,diameter 70 cm
4. Searchers IV, 2015,
Relief printing, 80.5cm x 122 cm
5. Searchers V, 2015,
Relief printing, 80.5cm x 122 cm
6. Water fragments I,
Relief printing, diameter 70 cm
7. Water fragments II,
Relief printing, diameter 70 cm
8. Water fragments III,
Relief printing, diameter 70 cm
9. In and around Water, 2013/15,
Relief printing, polyptych 6 x 65.5 x 51.5 cm
10. Aqua Permanens, 2012/15,
Relief printing, polyptych of variable dimensions
11. Turbid Waters, 2011/14,
Relief printing, polyptych 10 x 50 x 50 cm
12. From the Depths (Uncertainty) I,
Relief printing, 50 x 50 cm
13. From the Depths (Uncertainty) II,
Relief printing, 50 x 50 cm
14. From the Depths, 2013/15,
Relief printing, polyptych 8 x 30 x 80 cm
15. From the Depths, 2013,
Relief printing, polyptych of variable dimensions
16. Sea Forms, 2010/13,
Relief printing, polyptych of variable dimensions
17. Big Blueness, 2012,
Relief printing, 100 x 140 cm
18. Bottomless, 2012,
Relief printing (polyptych), 3 x (70 x 50 cm) and 3 x (50 x 50 cm )

1. II, 2012,
, 100 x 90
2. III, 2013,
, 100 x 90
3. , 2014/15,
()
4. I, 2013,
, 120 x 150
5. II, 2013,
, 120 x 150
6. III, 2014,
, 120 x 150
7. IV, 2015,
, 150 x 120
8. ( ) I, 2013,
, 70 x 50
9. ( ) II, 2013,
, 50 x 65
10. ( ) III, 2013,
, 50 x 65
11. ( ) IV, 2014,
, 41,5 x 53,5
12. ( ) V, 2014,
, 50 x 61
13. ( ) VI, 2014,
, 80 x 60

Paintings
1. Large Dock II, 2012,
acrylic on canvas, 100 x 90 cm
2. Large Dock III, 2013,
acrylic on canvas, 100 x 90 cm
3. Towards the Dock, 2014/15,
acrylic on canvas and mixed media (polyptych)
4. In and around Water I, 2013,
acrylic on canvas and mixed media, 120 x 150 cm
5. In and around Water II, 2013,
acrylic on canvas and mixed media, 120 x 150 cm
6. In and around Water III, 2014,
acrylic on canvas and mixed media, 120 x 150 cm
7. In and around Water IV, 2015,
acrylic on canvas and mixed media, 150 x 120 cm
8. From the Depths (echo of water) I, 2013,
acrylic on canvas, 70 x 50 cm
9. From the Depths (echo of water) II, 2013,
acrylic on canvas, 50 x 65 cm
10. From the Depths (echo of water) III, 2013,
acrylic on canvas, 50 x 65 cm
11. From the Depths (echo of water) IV, 2014,
acrylic on canvas, 41.5 x 53.5 cm
12. From the Depths (echo of water) V, 2014,
mixed media, 50 x 61 cm
13. From the Depths (echo of water) VI, 2014,
acrylic on canvas, 80 x 60 cm

28

14. ( ) VII, 2015,

, 80 x 60
15. ( ) 2014/15,
, (26 .)

14. From the Depths (echo of water) VII, 2015,

acrylic on canvas, 80 x 60 cm
15. From the Depths (echo of water) 2014/15,
acrylic on canvas and mixed media, polyptych (26 pcs.)

1. ,
2009, , 70 x 50
2. I,
2009, , 70 x 50
3. II,
2011, , 70 x 50
4. I,
2009, , 70 x 50
5. II,
2010, , 70 x 50
6. III,
2010, , 70 x 50
7. IV,
2010, , 70 x 50
8. V,
2011, , 70 x 50
9. I,
2009, , 70 x 50
10. II,
2009, , 70 x 50
11. VI,
2015, , 70 x 50
12. VII,
2015, , 70 x 50
13. VIII,
2015, , 70 x 50
14. , 2010/2011,
, 140 x 100 v

Drawings
1. Submarines,
2009, mixed media, 70 x 50 cm
2. Submarine I,
2009, mixed media, 70 x 50 cm
3. Submarine II,
2011, mixed media, 70 x 50 cm
4. Dock I,
2009, mixed media, 70 x 50 cm
5. Dock II,
2010, mixed media, 70 x 50 cm
6. Dock III,
2010, mixed media, 70 x 50 cm
7. Dock IV,
2010, mixed media, 70 x 50 cm
8. Dock V,
2011, mixed media, 70 x 50 cm
9. Sails I,
2009, mixed media, 70 x 50 cm
10. Sails II,
2009, mixed media, 70 x 50 cm
11. Dock VI,
2015, mixed media, 70 x 50 cm
12. Dock VII,
2015, mixed media, 70 x 50 cm
13. Dock VIII,
2015, mixed media, 70 x 50 cm
14. Shell and Murmur, 2010/2011,
mixed media, 140 x 100 cm
29

Milica Antonijevi

1973. . ( ), ,
1992. . , ,
, 1997. 2003.
. - 1998. .
. | - mail: cikiliki@ gmail.com

Born in Kraljevo, in 1973. Finished the Industrial Design School in Belgrade (School of Design), course Packaging, in 1992. Graduated from the
Faculty of Applied Arts and Design in Belgrade, Department of Applied
Graphic Design, atelier Graphic Design and Book, in 1997, and earned
her masters degree at the same faculty, course Graphic Design, in 2003.
Member of ULUS (Association of Fine Artists of Serbia) since 1998. Works
as a docent teaching Drawing and Painting at the Faculty of Philology and
Arts in Kragujevac. -mail: cikiliki@ gmail.com

/ 2015 - , -
, / 2014 - , - ,
/ 2014 - , - , / 2013 - , , qua permanens, / 2013 - , 77
- qua permanens, / 2013
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EX LIBRIS, / 2010, 2011, 2013 - ,

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() / 2009 - Ecxhing, Syrian artist- Serbian artist, Kozah
art Gallery, , / 2009 - , Trois
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Solo exhibitions: / 2015 - aak, Gallery of the House of Culture In

and around Water, paintings / 2014 - Smederevska Palanka, Gallery of
Modern Art In and around Water, paintings / 2013 - Belgrade, Gallery Grafiki kolektiv, qua Permanens, graphics / 2013 - Ni, Salon 77
of the Gallery of Modern Fine Arts qua Permanens, graphics / 2013 Kragujevac, Little Art Salon of the National Museum In and around Water, paintings / 2012 - Ni, Art55 gallery Collector of Water, works on
paper / 2011 - Kraljevo, Gallery Marik Collector of Water, works
on paper / 2011 - Belgrade, Gallery of the Students Cultural Centre New
Belgrade Collector of Water, works on paper / 2010 - Kragujevac, City
Gallery Balkan Bridges Collector of Water, works on paper / 2008
- Rome (Italy), Gallery ssociazione culturale atelier, Imperdonabili
graphics, Milica Antonijevi and Gianluca Murasecchi / 2008 - Novi Sad,
Cultural Centre, Little Fine Art Salon Mini Art Labyrinth exhibition of
small graphic forms / 2008 - abac, Cultural Centre Mini Art Labyrinth exhibition of small graphic forms / 2007 - Kragujevac, Gallery of
the Students Cultural Centre Mini Art Labyrinth exhibition of small
graphic forms / 2003 - Kraljevo, French House Helen dAnjou, graphics
/ 2003 - Belgrade, Gallery Grafiki kolektiv, graphics / 2002- Kraljevo, Gallery Marik, Graphics - Antonijevi, Zari, Dragutinovi-Roccella / 2001
- Belgrade, Gallery of Ilija M. Kolarac Foundation, Graphics - Antonijevi,
Zari, Dragutinovi-Roccella / 2000 - Vrnjaka Banja, The Castle of Culture, 3x10, Graphics Antonijevi, Staevi, Tili / 1997 - Belgrade, Gallery of the Faculty of Fine Arts, The best students in the generation (with
Rado Antonijevi)

ment Serbia, UNESCO Gallery and Gallery of Serbian Cultural Centre,

Paris / City Gallery (BIH), City Gallery, Plovdiv, Bulgaria Collegium Artisticum, Sarajevo / 2010 - Reunions, Sainte Foy, Lyon, France / 2009
- Exchange, Syrian artist - Serbian artist, Kozah Art Gallery, Damascus,
Syria / 2009 - Exhibition of Small Graphic Forms, Trois Rivieres, Quebec, Canada / 2009, 2010, 2011, 2012, 2014 Ni Drawing, Gallery
Serbia and Pavilion in the Fortress, Ni / 2008 - 4th Biennial of Graphic
Design, Rokucani, Czech Republic / 2006, 2008 - Exhibition of Small
Graphic Forms, Budapest, Hungary / 2008, 2009, 2010, 2011, 2014
- October Salon, Gallery of the National Museum, abac / 2008 - 13th
Biennial of Miniatures, Lodz, Poland / 2008 - Biennial of Graphic Design, Art Pavilion Cvijeta Zuzori, Belgrade / 2007, 2012, 2014 - Exhibition of Small Graphic Forms, strow Wielkopolski, Poland / 2007
1st International Biennial of Drawings, Historical Archives, Panevo
/ 2007 - New Acquisitions, Modern Gallery of the National Museum, Kragujevac / 2006 Autumn exhibition of ULUS (Association of
Fine Artists of Serbia), Art Pavilion Cvijeta Zuzori, Belgrade / 2006
1st Biennial of Graphic Art, Art Pavilion Cvijeta Zuzori, Belgrade
/ 2002, 2004 Exhibition of Graphic Design of Yugoslav Authors,
MFR, Shell Centre, Damascus, Syria / 2003 6th Triennale mondiale de lestampe petit format, Chamalieres 2003, Auvergne, France /
1998 - Grafinnova, 7th Triennial of Graphic Design and Drawings of
Young Artists, Vaasa, Finland / 1998, 2000, 2014 Spring exhibition
of ULUS, Art Pavilion Cvijeta Zuzori, Belgrade / 1997, 2005 1st
and 5th International Biennial of Small Graphic Forms, Cluj, Romania
/ 1997- 39th Golden Pen of Belgrade, Art Pavilion Cvijeta Zuzori,
Belgrade / 1997- 38th October Salon, Museum 25th May, Belgrade /
1996, 2005, 2008, 2010, 2012, 2014 4th, 8th, 9th, 10th, 11th, 12th
International Biennials of Miniature Art, Gornji Milanovac / 1995
2007 and 20092014 - Exhibition of Small Graphic Forms, Gallery
Grafiki kolektiv, Belgrade / 19952003 and 20112014 May Exhibition of Graphic Art of the Belgrade Circle, Gallery Grafiki kolektiv,
Belgrade / 1995 2nd International Biennial - Dry Point, City Gallery,
Uice and Cultural Centre, Belgrade

Awards (selection): / 2012 - Purchase prize of the Ministry of Culture of

the Republic of Serbia, Small Graphic Forms, Gallery Grafiki kolektiv, Belgrade / 2011 - 3rd prize for graphic design at X November Salon, Gallery Marik, Kraljevo / 2009 - 2nd prize for drawing at IX November Salon, Gallery Marik, Kraljevo / 2009 - Award for drawing at the VII international exhibition Women Painters, Cultural Centre Majdanpek /
2008 - Purchase prize for graphic design, National Museum abac / 2008
- 1st prize for graphic design at the 52nd October Salon, National Museum
abac / 2007 - 1st prize for drawing at the XIV exhibition of drawings, Gallery of the Cultural Centre abac
2002 - Grand Prix for graphic design, II November Salon, Gallery Marik,
Kraljevo / 1997 - Award from the Fund Branko otra, for the most successful graduate student of the Faculty of Applied Arts and Design in Belgrade, academic year 1996/97
Group exhibitions (selection) / 2014 - Pergamino - Concertina Serbia,
National University of Mexico, Mexico / 2014 - Modern Serbian Graphics and the Association of Graphic Artists of Hanga Kai Japan, Metropolitan Museum in Tokyo, Japan / 2014 - Seventh International Triennial of
Graphic Arts Sofia, Bulgaria / 2013 - Parchment Serbia, International Art
Project, Embassy of the Republic of Serbia, Sofia, Bulgaria / 2013 - Opere in
Piccolo, La Linea Arte Contemporanea, Rome, Italy / 2013, 2014 - 1st and
2nd International Salons of Graphics, City Gallery, Kraljevo / 2012, 2014 1st and 2nd International Biennials of Small Graphic Forms, Pavilion in the
Fortress, Ni / 2011, 2014 - 1st and 2nd International Triennials of Graphic Design, Art Pavilion Cvijeta Zuzori, Belgrade (ULUS) 2010, 2014 - 3rd
and 5th International Biennials EX LIBRIS, Panevo / 2010, 2011 - Parch31



www.nmkv.rs

Aqua permanens

,
, ,
,
Epigraph

300 2015

Milica Antonijevi
Aqua permanens
Publisher The National Museum Kraljevo / For the publisher Dragan Drakovi
Autor of exibition Suzana Novi / Text Suzana Novi,
vesna todorovi, olivera vukoti, vladimir rankovi
Editing and proofreading mr Ana Gvozdenovi / Translation mr Nataa Pavlovi, mr MARIJANA MATI
Design of publication and font Epigraph Dragan Pei
Photography Sran Vulovi / Prepress Ajova
Printed by Interklima grafika / Printed in 300 copise / Kraljevo 2015

CIP -
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