Zvonko Grmek was born in 1948 in Belgrade. He graduated from the Faculty of applied arts in Belgrade in 1975 (department for graphic) and he won a master’s degree in 1987 in the class of professor Bogdan Krsic. His works have so far involved graphic art, drawing and painting.
- Gallery “Graficki kolektiv”, Belgrade 1983
- Gallery “Studentski grad”, Belgrade 1987
- Gallery “Graficki kolektiv”, Belgrade 1990
- Gallery “Graficki kolektiv”, Belgrade 1995
He took part in a number of fine arts manifestations (drawing and graphic), salons and triennials among which are:
- The 19 th October salon, Belgrade, 1978
- The 9 th Triennial of contemporary Yugoslav drawing, Sombor, 1987
- Exhibition of Yugoslav portrait, Tuzla, 1987
- The 7 th Triennial of contemporary Yugoslav graphic, Bitola, 1990
- The 10 th Triennial of contemporary Yugoslav drawing, Sombor, 1990
- The 13 th Exhibition of Yugoslav drawing, Zagreb, 1991
- The 18 th International Independent exhibition of prints in Kanagawa, Japan, 1995
- 2 International triennial of graphic art, Bitola, Macedonia, 1997
- 3 Triennial Havirov Czech Republic, 2002
He received numerous awards. He lives and works in Belgrade.
Do you still travel through “The dream about Terra incognita” by the train given by your father when you were 6 or 7?
Are there any free seats for other passengers in this train, for those who do not reconsider their own artistic practice, for those who do not re-define fine arts concepts but they are aware that they are dreaming?
Does “The bird stuffed with golden straw” alights on our shoulder to wake us from nightmares and offer a life in the world that does not draw a distinction between a living adventure and a living emptiness?
Is it possible to preserve the illusions and memories of pure, solitary and untouched by escaping into an isolation? Maybe pure, solitary and untouched nowadays are just literary concepts?
>Where do the virtual spaces veiled in a secret, cubic cages, spiral staircases, incomprehensible hospital whiteness, sfumato that deadens the intensity of gesture lead to? Should excitement and impulsiveness be allowed to defeat restraint and a secret?
Should the gap between a being and a void be bridged by the cut of Bacon’s fear or by an instant of Munch’s “ Primal scream?”
Does always somebody else sing about happiness in this cracked reality?
How can we organize the world of our own chaos without yielding of hectic ideals?
You said:” Forced to retreat even deeper I am getting indifferent to everything else but my work.” I do not ask. I would just like to add:” To create for the brotherhood of homo ludens!
18th/19 th of January - Ljiljana Cinkul