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[[File:Artist Simonida Rajcevic.jpg|thumb|Simonida Rajčević]] |
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| ⚫ | '''Simonida Rajčević''' (born April 2, 1974) is a [[Serbs|Serbian]] painter and artist. She has had more than 20 individual and 50 group exhibitions.<ref name="bio">{{cite web |last=Rajčević |first=Simonida |title=Simonida Rajčević: Biography |url=https://www.simonidasimonida.com/fotke/biography/biography.html |accessdate=7 Nov 2022}}</ref> |
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==Life== |
==Life== |
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Rajčević was born on April 2, 1974 in [[Belgrade]], in what was then [[ |
Rajčević was born on April 2, 1974, in [[Belgrade]], in what was then [[Yugoslavia]]. After finishing her primary and secondary education, she enrolled the [[Academy of Fine Arts, Belgrade|Academy of Fine Arts]] in 1992 where she received her bachelor's degree in 1997. She won a [[DAAD Artists-in-Berlin Program|DAAD]] (the German Academic Exchange Service) scholarship and attended post-graduate studies in Berlin, and received her master's degree at the same university in 1999. She became a member of Association of Visual Artists of Serbia (ULUS) in 1998. In 2000 she became an assistant to professor [[Čedomir Vasić]] at the Academy of Fine Arts, and has been working as an [http://flu.bg.ac.rs/simonida-rajcevic-2/?ln=lat associate professor] ever since. As of 2015, she received her doctoral degree which focused on [[intertextuality]] in contemporary art. Her work has been exhibited in Belgrade Zvono Gallery, Umetnički Paviljon "Cvijeta Zuzorić", Galerija ULUS-a, Salon of the Museum of Contemporary Art and Cultural Center of Belgrade, among other.<ref name="jabhoc">{{cite web |last=Rajčević |first=Simonida |date= |title=Biography |url=https://www.simonidasimonida.com/fotke/biography/biography.html |accessdate=7 November 2022 |website=Simonida Rajčević: Biography |language=Serbian}}</ref><ref>{{Cite web |last=Carey |first=Brainard |date=1 September 2020 |title=Yale University Radio WYBCX: Simonida Rajcevic |url=https://museumofnonvisibleart.com/interviews/simonida-rajcevic/ |access-date=7 Nov 2022 |website=Praxis Interview Magazine - The Museum of Non-Visible Art}}</ref><ref>{{Cite web |last=Femkanje |date=30 October 2013 |title=#31 SIMONIDA RAJČEVIĆ |url=https://podcast.rs/31-simonida-rajcevic/ |access-date=8 Nov 2022 |website=Podcast.rs}}</ref> |
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==Exhibitions== |
==Exhibitions== |
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Rajčević's first solo exhibition was in 1995 at the [[Studentski kulturni centar (Belgrade)|Student Cultural Centre Gallery in Belgrade]]. It was an installation named "The last survivors from [[Nostromo (Alien)|Nostromo]]". This giant construction of hanging metal plates was inspired by the [[Alien (Alien franchise)|creature]] from the movie ''[[Alien (film)|Alien]]''. Her next exhibition, "Express Old Masters Non-Stop", was in 1997 at the Zvono Gallery,<ref>{{Cite web |title=Gallery Zvono |url=http://www.galleryzvono.com/ |access-date=7 November 2022}}</ref> which marked the beginning of their long-term collaboration. This is a first series of her large format paintings, also named 'plastic angels'. In 1998, she made a tribute to her year-and-a-half-long post-graduate studies in Germany, named "Berlin Mainstream". On these paintings she represented massive cranes as a symbol of the city of Berlin at that time – under construction, expanding and widening, rebuilding itself. |
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| ⚫ | Her next series of works was made using combined techniques of digital print and acrylic on canvas. It is named "Truth for the truth" and consists of negatives of already ancient posters of rock and roll and pop icons such as [[Patti Smith]], [[Nick Cave]] and [[Elvis Presley]], assembled with [[Romanesque architecture|Romanesque]] and [[Gothic architecture]] as the monuments of human persistence and effort, with images of stone carved [[Michael (archangel)|archangel Michael]], the judge and witness with scattered wings, and the statue of [[Jesus]] himself, bowing over the images of these modern gods of music and popular culture.<ref name="jabhoc" /> These and many following paintings until today will feature an endless fascination with human body, which the artist has approached "...from so many different perspectives that range from religious to sexual and almost anatomically objective, but never overtly political or vulgar".<ref name=":0">{{Cite web |last=Frank |first=Zoey |date=18 July 2022 |title=Interview: Simonida Rajčević |url=https://www.hipeggy.com/interviews/simonida-rajcevic |access-date=7 November 2022 |website=Hi Peggy}}</ref> |
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Her next exhibition, “Express Old Masters Non-Stop”, was in 1997 at the “Zvono” Gallery. This is a first series of her large format paintings, also named ‘plastic angels’. Recalling the great masters of painting such as Michelangelo and Caravaggio, on these paintings Simonida presented what Alberti has said in his Tractate on painting: “…There are movements of body: growth, shrinkage, illness, recovery, movements from one place to another.. We, the painters who want to show the movements of spirit by movements of body parts, use only the movements from one place to another.” In other words, what was meant is that expression is achieved only through the relation between the bodies in the painting and thus the age of theatricality begins in art, and so does in Simonida’s painting. And this very expression of movement, whether spiritual or physical, becomes the stamp and one of main distinctions of her following artwork. |
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However, what one can see on Simonida’s paintings is that the body is ecstatic, dominant but vulnerable; body is that thing that causes or presents the aim of God’s intervention; a body whose anatomy is exposed to a delirious painter’s experimentation, shortenings, extractions, deformations, or denotations of unnatural coloring. She puts these ‘plastic angels’ in impossible positions recalling Michelangelo’s figura serpentinata, a manneristic mobile form which was compared to the sight of the flame. This figure depends less and less on the real qualities and potential of the body, so the space of the painting becomes less a stage, and more a specific space in which the laws of gravity are decreased and illusion of movement is developed on both imaginary sides of the painted surface. Using the acrylic on canvas technique, Simonida makes fast brush moves which are required by the high speed of the drying paint. That Is why these paintings are full of motion, the “fiery moves”, orientated towards plastics of figures which is achieved by warm, but also “poisonous” coloring with just a few cold shadows. Let’s do not forget that the choice of acrylic is interesting in the conceptual way too, for acrylic is a technique of the 20thcentury, the color which Jackson Pollock poured out over his canvases. |
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In 2007, Rajčević's created two monumental canvases, each ten meters long, named "The Snakewalls". By its structure and composition, one Snakewall is more linear in its narration, more gradual and analogue. The other one is fragmented, unpredictable, closer to digital language code. However, both are fiercely expressive and dramatic, both full of tension, characteristic for the matter that is about to break and explode.<ref name="politikia">{{cite web |last=Ćinkul |first=Ljiljana |date=22 February 2008 |title=In the Realm of the Senses and Colors |url=https://translate.google.com/translate?u=http://www.politika.rs/rubrike/Kultura/U-carstvu-chula-i-boje.lt.html |accessdate=7 January 2010 |work=[[Politika]] |language=Serbian}}</ref><ref name="artnews">{{cite web |last=Kostić |first=Marko |date=16 February 2008 |title=Simonida Rajčević: "Snakewall" |url=http://artnews.org/gallery.php?i=3875&exi=9238 |accessdate=7 January 2010 |work=[[ARTnews]]}}</ref> |
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In 1998 Simonida made a tribute to her year-and-a-half-long post-graduate studies in Germany, named “Berlin Mainstream”. On these paintings she represented massive cranes as a symbol of the city of Berlin at that time – under construction, expanding and widening, rebuilding itself. By mostly using black, white, red and gold, she marked this period as a kind of a “golden era”, in her own and life of the city itself. |
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Her 2010 exhibition, "[http://www.darkstar.simonidasimonida.com/ Dark Star]", took place at Zvono Gallery on April 5, 2010.<ref>{{Cite web |last=SEEcult.org |date=5 April 2010 |title=Dark star Simonide Rajčević |url=http://www.seecult.org/vest/dark-star-simonide-rajcevic |access-date=7 November 2022 |website=SEEcult |language=Serbian}}</ref> American rock and punk star [[Patti Smith]], who was staying in Belgrade at that time, also came to see Simonida's exhibition.<ref>{{Cite web |last=Đ. |first=M. |date=7 April 2010 |title=Pati Smit u Beogradu |url=https://www.politika.rs/sr/clanak/130317/Pati-Smit-u-Beogradu |access-date=7 November 2022 |website=Politika online}}</ref> In an interview with Rajčević, Zorica Kojić notes: "Assembled here are portraits of [[River Phoenix]], [[Olivera Katarina]], [[Dash Snow]], Milena Marković, Patti Smith, [[Robert Mapplethorpe]], [[Tracey Emin]], Oleg Novković, [[Karl Marx]], [[Gilles Deleuze]], Sonja Vukićević, [[Courtney Love]], and [[Sarah Kane]]. Also featured are quotes by [[Hole (band)|Hole]], [[Arthur Rimbaud]], [[Lord Byron]], [[the Streets]], Patti Smith, [[Walt Whitman]], [[Allen Ginsberg]], [[Charles Bukowski]], [[William Blake]], [[Sinéad O'Connor]], [[Bob Dylan]], [[Lucinda Williams]]..."<ref>{{Cite web |last=Kojić |first=Zorica |title=The Power and Warmth of an Artist's Devotion |url=https://www.simonidasimonida.com/fotke/selected/selected%2001.html |access-date=7 November 2022 |website=Simonida Rajčević: Texts}}</ref> The sound piece for the exhibition was made by Manja Ristić and Ivan Kadelburg. |
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One that is quite similar with her first series of paintings - the ‘plastic angels’ by form and course of prosecution is a series of Simonida’s untitled paintings from 2006. Only these are the ‘dark angels’, the sinners and tortured souls. Here we see the bodies tied up, knotted down, cramped as they wage their mutual and inner battles. There is no longer just the flaming serpentine figure – it’s replaced by a vortex of strong emotions of sorrow and darkness. The domineering color is black, consistent with motives and themes on these paintings: the weight of love, life and death; manifestations of hatred, pain and suffering, the eternal Prometheus’ agony, as well as passion and tainted love. There is red blood over the sheets, there is dirt and chaos; Simonida is twisting the human being inside out. There is no misinterpretation of this series. This is “the mess we’re in” and the dark reality of human life. As abstract as the nature of the presented themes is, the form and shapes on these paintings begin to get more and more abstract as well, but the lines and borders of the main figures still stay bold, ruff and unambiguous. Simonida will continue to evolve in this direction, aiming towards disfiguration and breaking down the form. |
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After the 2014 "Human Activities. Helpless." exhibition, which featured drawings on bed sheets and installed on mattress,<ref>{{Cite web |last=Tunić |first=Srđan |year=2014 |title=Simonida Rajčević: Ljudske aktivnosti. Bespomoćni. / Human activities. Helpless. |url=https://www.academia.edu/1536389 |access-date=8 Nov 2022 |website=Academia.edu}}</ref> the artist worked on several series which according to Zoey Frank "...explored a set of common contrasts, such as people and how they interact with their surroundings, nature vs society, man vs animals".<ref name=":0" /> These are "The Chain" (2014),<ref>{{Cite web |date=30 March 2014 |title=Lanac Simonide Rajčević |url=http://www.seecult.org/vest/lanac-simonide-rajcevic |access-date=8 Nov 2022 |website=SEEcult.org |language=Serbian}}</ref> "The First Cut" (2014)<ref>{{Cite web |date=October 2014 |title=The First Cut – Simonida Rajčević |url=https://msub.org.rs/exhibition/prvi-r%d0%b5z-simonida-rajcevic/?lang=en |access-date=8 Nov 2022 |website=Museum of Contemporary Art Belgrade}}</ref> and "Strange Waves" (2016).<ref>{{Cite web |date=26 December 2016 |title=Čudni talasi |url=http://www.seecult.org/vest/cudni-talasi |access-date=8 Nov 2022 |website=SEEcult.org}}</ref> |
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Simonida’s following works in the 2007 are two monumental canvases, each ten meters long, named “THE SNAKEWALLS”. |
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By its structure and composition, one Snakewall is more linear in its narration, more gradual and analogue. The other one is fragmented, unpredictable, closer to digital language code. However, both are fiercely expressive and dramatic, both full of tension, characteristic for the matter that is about to break and explode. |
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Most recent works are from 2020: "Fake Pain" and "Arrows". The former was exhibited at the Cultural Center of Belgrade and combines paintings with art historical and biblical references ([[El Greco]], [[Caravaggio]], [[Francisco de Zurbarán|Zurbarán]]) with a giant statue of [[Bruce Lee]]'s arms. According to Jelena Petrović:<blockquote>The sights of universal anguish, suffering, and pain of mankind, which intermittently fade and then resurface from the past in times of crises, conflicts, and wars, appear in the paintings by Simonida Rajčević as fragments, metonymic images and relationships through which a logical connection is established with the anguish of the modern man in global neo-colonial capitalism. The body of the homo economicus of today, which systemically produces itself, is moved by bright fluorescent colours, historical narratives of suffering, and its own vulnerability in the world in which it lives alienated. Paused at the moment of twitch, this dominant body of today becomes an aggressive means manipulated and controlled by pain. What has also originated from this universal coding of pain is the global society of today, which exploits, punishes, and dehumanises, and also consistently performs violence over everything that deviates from its perfect and uniform image of the world. In other words, the disintegrated structure of the wakening and reassembling body also speaks of the fact that our global civilisation has always been and still is Eurocentric, white, Christian, and patriarchal. Built and disciplined through repeated renewal of violence, this civilisation indicates to us the impossibility of eliminating what is a basic, social and politically structured human affect – pain.<ref>{{Cite web |last=Petrović |first=Jelena |year=2020 |title=Fake Pain |url=https://www.simonidasimonida.com/fotke/selected/selected%2001.html |access-date=7 Nov 2022 |website=Simonida Rajčević: Texts}}</ref></blockquote>The whole exhibition is available online through a 3D virtual tour.<ref>{{Cite web |last=Rajčević |first=Simonida |year=2020 |title=Fake Pain 3D Virtual Tour |url=https://www.simonidasimonida.com/fotke/2020%203D/2020%203D%20works.html |access-date=7 November 2022 |website=Simonida Rajčević: Works}}</ref> |
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The crucial element of these walls is, naturally, the richly symbolic snake – the symbol of Man’s original sin according to the Bible, but also the symbol that unites the aspects of ground and underground, water and fire, positive and negative, but also the principles of male and female, signifying sexual duality. |
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An important support role in the construction of the Snakewall naturally belongs to the wall itself – a barrier towards the unknown, a restriction, an obstacle, a line of division but also a strong carrier of civilization messages from the Western (Wailing) Wall, through the Great Wall of China to Berlin Wall and many other nameless walls. |
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Realized in the poetic key of „the Creation of the World“ (entailing both the story of the sin as well as the story of the serpent), with implicit aroma of drama and pathos, the two friezes resonate with the thunder of God’s wrath after the original sin was committed, the wrath which destroyed the pure and idylic world of Eden. Creating her own monumental compositions, Simonida chooses and relies on elements from common civilizational art collection, primarily the underscored carnal element and Eros that support her thought – from antique sculptures, through the figurative codes of Michaelangelo, El Greco, Rembrandt, Rubens, as well as Haring and Basquiat, with touches of Goya and literature of Boris Vian, to the reminiscences and quotes from movies Emanuela, Last Tango in Paris, In the Realm of the Senses, and many other French erotic movies, all the while borrowing important influences from graffiti art, comics, film techniques and rock’n’roll... Black, white and red, sometimes they are more of a drawing, sometimes more a painting, in the dramatic storm of Eros and Tanatos. |
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The symptomatic point of one of these two Snakewalls, the one with a more compact narrative line, is surely a place where the cut is made from color to black and white (this meaningful cut, among other things, marks the transition from painting to film quotations). Somewhere on the borderline between these two worlds, in the color field, we recognize as a dominant figure one of Laocoon’s sons from El Greco’s famous painting Laocoon. German archaeologist and art historian Johann Joachim Winckelmann, points out to the paradox of getting the impression of exquisite beauty while observing the scene of death and fall. With the same suspense of Eros and Tanatos, Simonida unites all protagonists of the two friezes into one big Laocoon’s family entangled into serpent’s coil. |
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The latest artworks of this extraordinary artist, painted during 2008, are mostly inspired by themes and concepts from books and plays of one of the famous contemporary English playwright, Sarah Kane. So, Simonida is once again dealing with themes of redemptive love, sexual desire, pain, torture - both physical and psychological - and death. As the main drive in this series of paintings, the most important is almost complete disfiguration of painted bodies and constant insistence on large scale, which again emphasizes severity of the issues incorporated in compositions of bodies and in Sarah Kane quotations which are whritten in the corners of the canvas. She distinctively questions the gender and sex issue, and paints various relations between two (or more people), different roles, different positions, but always infiltrated by enormous amount of sky-high-scale emotions – the high level of most of today’s impressions and experiences from our every-day urban, social and private life. These canvases can be taken for a mirror of contemporary naked reality, of disordered and twisted relationships between people today; they also represent human basic grieving and suffering, which is indicated by the dominance of red and purple, symbols of guilt, sin and anger, colors connected with blood, sex, lust, passion, love and beauty. |
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In 2021 and 2022, her work was included in group exhibition "Among Women: Contemporary Art From Serbia" in Pittsburgh's 937 Gallery and New York's Bronx River Art Center.<ref>{{Cite web |last=Klipa |first=Rachel |date=2021 |title=About |url=https://www.amongwomenserbia.org/about-amongwomenserbia |access-date=8 Nov 2022 |website=Among Women: Contemporary Art from Serbia}}</ref> |
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Therefore, Simonida constitutes her own painting language as a synthesis of inevitable modern social factors, traditional and highly recognizable codes of mythological, symbolic and visual culture system, and off course, her own personal respirations, attitudes, and cravings. In the techniqual and stylistic manner of speaking, she is certainly embracing abstraction as a final layer on top of what can be defined as figurative expressionism and social consciousness. Finally, what makes Simonida a great artist is not just the extra large dimension of her canvas, it’s the option she gives to the observer: a possibility to enter deeper and more subjectively into the core of her giant figures, as well as to solve the attractive mystery of her monumental paintings. |
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==References== |
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{{Reflist}} |
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==External links== |
==External links== |
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*{{Official|http://www.simonidasimonida.com/}} |
*{{Official website|http://www.simonidasimonida.com/}} |
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*[http://www.darkstar.simonidasimonida.com/ Dark Star Official Website] |
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*[https://museumofnonvisibleart.com/interviews/simonida-rajcevic/ Interview for Yale University Radio WYBCX (The Museum of Invisible Art, Praxis)] |
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{{DEFAULTSORT:Rajcevic, Simonida}} |
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[[Category:Serbian artists]] |
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[[Category:Living people]] |
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[[Category:1974 births]] |
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Latest revision as of 21:07, 27 September 2023
Simonida Rajčević (born April 2, 1974) is a Serbian painter and artist. She has had more than 20 individual and 50 group exhibitions.[1]
Life
[edit]Rajčević was born on April 2, 1974, in Belgrade, in what was then Yugoslavia. After finishing her primary and secondary education, she enrolled the Academy of Fine Arts in 1992 where she received her bachelor's degree in 1997. She won a DAAD (the German Academic Exchange Service) scholarship and attended post-graduate studies in Berlin, and received her master's degree at the same university in 1999. She became a member of Association of Visual Artists of Serbia (ULUS) in 1998. In 2000 she became an assistant to professor Čedomir Vasić at the Academy of Fine Arts, and has been working as an associate professor ever since. As of 2015, she received her doctoral degree which focused on intertextuality in contemporary art. Her work has been exhibited in Belgrade Zvono Gallery, Umetnički Paviljon "Cvijeta Zuzorić", Galerija ULUS-a, Salon of the Museum of Contemporary Art and Cultural Center of Belgrade, among other.[2][3][4]
Exhibitions
[edit]Rajčević's first solo exhibition was in 1995 at the Student Cultural Centre Gallery in Belgrade. It was an installation named "The last survivors from Nostromo". This giant construction of hanging metal plates was inspired by the creature from the movie Alien. Her next exhibition, "Express Old Masters Non-Stop", was in 1997 at the Zvono Gallery,[5] which marked the beginning of their long-term collaboration. This is a first series of her large format paintings, also named 'plastic angels'. In 1998, she made a tribute to her year-and-a-half-long post-graduate studies in Germany, named "Berlin Mainstream". On these paintings she represented massive cranes as a symbol of the city of Berlin at that time – under construction, expanding and widening, rebuilding itself.
Her next series of works was made using combined techniques of digital print and acrylic on canvas. It is named "Truth for the truth" and consists of negatives of already ancient posters of rock and roll and pop icons such as Patti Smith, Nick Cave and Elvis Presley, assembled with Romanesque and Gothic architecture as the monuments of human persistence and effort, with images of stone carved archangel Michael, the judge and witness with scattered wings, and the statue of Jesus himself, bowing over the images of these modern gods of music and popular culture.[2] These and many following paintings until today will feature an endless fascination with human body, which the artist has approached "...from so many different perspectives that range from religious to sexual and almost anatomically objective, but never overtly political or vulgar".[6]
In 2007, Rajčević's created two monumental canvases, each ten meters long, named "The Snakewalls". By its structure and composition, one Snakewall is more linear in its narration, more gradual and analogue. The other one is fragmented, unpredictable, closer to digital language code. However, both are fiercely expressive and dramatic, both full of tension, characteristic for the matter that is about to break and explode.[7][8]
Her 2010 exhibition, "Dark Star", took place at Zvono Gallery on April 5, 2010.[9] American rock and punk star Patti Smith, who was staying in Belgrade at that time, also came to see Simonida's exhibition.[10] In an interview with Rajčević, Zorica Kojić notes: "Assembled here are portraits of River Phoenix, Olivera Katarina, Dash Snow, Milena Marković, Patti Smith, Robert Mapplethorpe, Tracey Emin, Oleg Novković, Karl Marx, Gilles Deleuze, Sonja Vukićević, Courtney Love, and Sarah Kane. Also featured are quotes by Hole, Arthur Rimbaud, Lord Byron, the Streets, Patti Smith, Walt Whitman, Allen Ginsberg, Charles Bukowski, William Blake, Sinéad O'Connor, Bob Dylan, Lucinda Williams..."[11] The sound piece for the exhibition was made by Manja Ristić and Ivan Kadelburg.
After the 2014 "Human Activities. Helpless." exhibition, which featured drawings on bed sheets and installed on mattress,[12] the artist worked on several series which according to Zoey Frank "...explored a set of common contrasts, such as people and how they interact with their surroundings, nature vs society, man vs animals".[6] These are "The Chain" (2014),[13] "The First Cut" (2014)[14] and "Strange Waves" (2016).[15]
Most recent works are from 2020: "Fake Pain" and "Arrows". The former was exhibited at the Cultural Center of Belgrade and combines paintings with art historical and biblical references (El Greco, Caravaggio, Zurbarán) with a giant statue of Bruce Lee's arms. According to Jelena Petrović:
The sights of universal anguish, suffering, and pain of mankind, which intermittently fade and then resurface from the past in times of crises, conflicts, and wars, appear in the paintings by Simonida Rajčević as fragments, metonymic images and relationships through which a logical connection is established with the anguish of the modern man in global neo-colonial capitalism. The body of the homo economicus of today, which systemically produces itself, is moved by bright fluorescent colours, historical narratives of suffering, and its own vulnerability in the world in which it lives alienated. Paused at the moment of twitch, this dominant body of today becomes an aggressive means manipulated and controlled by pain. What has also originated from this universal coding of pain is the global society of today, which exploits, punishes, and dehumanises, and also consistently performs violence over everything that deviates from its perfect and uniform image of the world. In other words, the disintegrated structure of the wakening and reassembling body also speaks of the fact that our global civilisation has always been and still is Eurocentric, white, Christian, and patriarchal. Built and disciplined through repeated renewal of violence, this civilisation indicates to us the impossibility of eliminating what is a basic, social and politically structured human affect – pain.[16]
The whole exhibition is available online through a 3D virtual tour.[17]
In 2021 and 2022, her work was included in group exhibition "Among Women: Contemporary Art From Serbia" in Pittsburgh's 937 Gallery and New York's Bronx River Art Center.[18]
References
[edit]- ^ Rajčević, Simonida. "Simonida Rajčević: Biography". Retrieved 7 Nov 2022.
- ^ a b Rajčević, Simonida. "Biography". Simonida Rajčević: Biography (in Serbian). Retrieved 7 November 2022.
- ^ Carey, Brainard (1 September 2020). "Yale University Radio WYBCX: Simonida Rajcevic". Praxis Interview Magazine - The Museum of Non-Visible Art. Retrieved 7 Nov 2022.
- ^ Femkanje (30 October 2013). "#31 SIMONIDA RAJČEVIĆ". Podcast.rs. Retrieved 8 Nov 2022.
- ^ "Gallery Zvono". Retrieved 7 November 2022.
- ^ a b Frank, Zoey (18 July 2022). "Interview: Simonida Rajčević". Hi Peggy. Retrieved 7 November 2022.
- ^ Ćinkul, Ljiljana (22 February 2008). "In the Realm of the Senses and Colors". Politika (in Serbian). Retrieved 7 January 2010.
- ^ Kostić, Marko (16 February 2008). "Simonida Rajčević: "Snakewall"". ARTnews. Retrieved 7 January 2010.
- ^ SEEcult.org (5 April 2010). "Dark star Simonide Rajčević". SEEcult (in Serbian). Retrieved 7 November 2022.
- ^ Đ., M. (7 April 2010). "Pati Smit u Beogradu". Politika online. Retrieved 7 November 2022.
- ^ Kojić, Zorica. "The Power and Warmth of an Artist's Devotion". Simonida Rajčević: Texts. Retrieved 7 November 2022.
- ^ Tunić, Srđan (2014). "Simonida Rajčević: Ljudske aktivnosti. Bespomoćni. / Human activities. Helpless". Academia.edu. Retrieved 8 Nov 2022.
- ^ "Lanac Simonide Rajčević". SEEcult.org (in Serbian). 30 March 2014. Retrieved 8 Nov 2022.
- ^ "The First Cut – Simonida Rajčević". Museum of Contemporary Art Belgrade. October 2014. Retrieved 8 Nov 2022.
- ^ "Čudni talasi". SEEcult.org. 26 December 2016. Retrieved 8 Nov 2022.
- ^ Petrović, Jelena (2020). "Fake Pain". Simonida Rajčević: Texts. Retrieved 7 Nov 2022.
- ^ Rajčević, Simonida (2020). "Fake Pain 3D Virtual Tour". Simonida Rajčević: Works. Retrieved 7 November 2022.
- ^ Klipa, Rachel (2021). "About". Among Women: Contemporary Art from Serbia. Retrieved 8 Nov 2022.