Identity collage of Montenegro on canvas

Art, identity, freedom, these are the words that best announce the upcoming exhibition of the academic painter. Selver Kardović from Rožaje. Kardović is presenting his work in Belgium tonight at the “Hubertushalle” in the municipality of Lontzen, on the occasion of the 20th anniversary of the restoration of Montenegro's independence. The exhibition will be officially opened by the Ambassador of Montenegro to Belgium Olivera Injac.

"I am looking forward to this significant cultural event and the opportunity to present a part of the creativity and spirit of Montenegro to an international audience through art," said Kardović, whose creativity has been recognized and appreciated beyond the borders of the country, and the motifs of his works that depict the spirit, mentality and tradition of life in Montenegro and Rožaje attract special attention.

In an interview with "Vijesti", Kardović announces the exhibition itself, talks about its artistic and symbolic significance, about his motives and inspiration, about Montenegro, but also about art in general, the art that connects and unites, its position today, success and consistency...

Your 23rd solo exhibition will open today in Belgium, on the occasion of the 20th anniversary of the restoration of Montenegro's independence. How much of this exhibition is artistic and how much symbolic for you?

This is my second solo presentation in Belgium and it is interesting that the occasion is the same again - the Day of the Restoration of Independence of Montenegro. Three years ago, I had the opportunity to exhibit in the ceremonial hall of the Embassy of Montenegro in Belgium, so in a way I feel a beautiful continuity and continuation of the cultural dialogue that art naturally establishes between people and spaces. Of course, the artistic aspect of the exhibition is always in the foreground, because every presentation carries the need to share the inner world, experience and artistic language that has been built over the years through the works. However, this exhibition also has a strong symbolic dimension for me. The date of its holding is not just a calendar reference, but carries a special meaning and emotion. I am glad that on this occasion I have the opportunity to present a part of Montenegrin culture to other peoples, because I experience Montenegro as a space of special beauty and complexity, the value of which is reflected precisely in its multiculturalism and the meeting of different traditions and identities. At the same time, this date also has a personal dimension for me. It connects me to my late father, who loved Montenegro in a special and sincere way. That is why this exhibition carries more than just an artistic event - it is also a kind of space of remembrance, respect, and silent gratitude.

What works are you presenting to the audience? Given the occasion and the setting, how was the process of selecting the works and were any created specifically for this occasion?

I will present to the Belgian audience around 15 works from my recognizable cycle “Fermen”, which has been going on for years and has gone through various phases of development and artistic transformation over time. I can say that this cycle has evolved significantly, developing its sub-cycles, and today it represents a complex and living artistic space that is constantly being upgraded and opening up new meanings.

I have spoken many times about what “Fermen” represents, but I believe it is important to clarify it again and again in order to make its symbolic layer closer and more understandable to the audience. Fermen is part of the folk costume, specifically the city costume - a kind of vest that does not fasten, most often richly decorated with gold embroidery and fine details. Its role was not only aesthetic, but also social - to highlight the individual within the community, his identity, dignity and a certain sophistication. One could say that it was worn by the noble city raja, and it is precisely because of this symbolism that fermen has become much more than an item of clothing for me. In my painting, it has grown into an artistic sign and metaphor - a space in which tradition and modernity, collective memory and personal experience meet. That is why this cycle does not deal with folklore in the literal sense, but tries to speak about identity, belonging and the inner dignity of man through a recognizable cultural motif.

The works that will be exhibited are made in the technique of oil on canvas, and it is a carefully chosen selection that includes both recent paintings and works created in earlier years. The selection process itself flowed naturally, taking into account that the works communicate with each other and that together they represent the development and internal dynamics of the “Fermen” cycle. Some works were created in a more recent period and correspond in a special way to the ambience and occasion of the exhibition, although they were not exclusively made specifically for this occasion. It was important to me that the exhibition acted as a rounded whole and that it brought to the audience in Belgium not only specific paintings, but also a story that continues and is still developing.

The exhibition is opened by the Ambassador of Montenegro to Belgium, which gives the event a diplomatic dimension. How important are culture and art in presenting a country to the world?

It is always nice and significant to have the support of your embassy or consulate when presenting your work abroad. Such support not only means organizational assistance, but also carries a sense of mutual respect and awareness that art can be an important bridge between countries and people. It is a special honor when an ambassador opens the exhibition, as it gives the entire event an additional symbolic and diplomatic dimension.

I believe that it is through culture and art that the face of a country can perhaps be shown to the world most sincerely. Political and social circumstances change, but culture leaves a deeper and more lasting mark, because it speaks of the values, sensibility and spiritual space of a people. That is why I believe that art and cultural diplomacy are among the most beautiful ways of connecting with other peoples and cultures. They are not based on imposition, but on dialogue and mutual acquaintance. At the same time, such events are also of particular importance for our diaspora living abroad, because culture often becomes a bridge between the place where a person lives and the space to which they emotionally belong. In this sense, exhibitions are not only artistic events, but also opportunities for encounter, understanding and preserving the connection with one's own identity.

You have exhibited all over the world. When you present your work to an international audience, do you feel that you are also representing Montenegro, your city and culture, sensibility, space, mentality and spirit? How does this affect you and your creativity?

Of course I feel that kind of responsibility and belonging. When I go out into the world with my exhibitions, I don't just represent myself as an artist. I also bring with me my family, my bazaar, the area I come from, and my Montenegro. A person may be physically far from the place they came from, but the essential - experience, sensibility, and inner landscape - always remains a part of them and is naturally transferred into art. I believe that an artist, whether they want it or not, carries a trace of the region they come from in their works. This is not necessarily something that is emphasized by design or determined by folklore, but is often recognized in sensibility, emotion, relationship to space, symbols, and the way they view the world. In that sense, I feel that my painting also carries with it a part of the spirit of the environment from which I came.

At the same time, international exhibitions for me are not only an opportunity for personal promotion, but also an opportunity to connect with other peoples through culture and art. Art has a silent but powerful power to overcome the boundaries of language, politics and everyday divisions. That is precisely why I believe that such encounters are precious, because through paintings we do not only present aesthetics, but also the possibility of mutual understanding and respect.

You have already spoken about the motifs that dominate your work. What would you say is the authentic Montenegrin element that, consciously or unconsciously, runs through your painting?

The motifs that dominate my painting have been present from the very beginning, although they have changed over time - sometimes they have been upgraded with new layers of meaning, and sometimes they have been "purified" and reduced to the essential. This process is never final, and that is precisely one of the secrets of creation. I cannot know in advance where a painting will take me, because something new is always born in the work, while at the same time something else is freed from the superfluous and becomes clearer and quieter.

Often in my paintings you can recognize details and visual traces that belong to different, even minority, but indigenous cultures and traditions of Montenegro. These motifs are not present as an illustration of the past or as mere decorative elements, but as part of a deeper cultural memory that we carry, consciously or unconsciously. In fact, that is exactly what Montenegro is for me - a space of differences that do not cancel each other out, but together build identity. Its uniqueness is not in one image, one symbol or one narrative, but in the meeting of different layers of tradition, experiences and cultures that have touched each other over time and shaped the common spirit of the space. Perhaps that is why these motifs constantly return to my painting; not as a predetermined theme, but as a natural part of my inner world and personal sense of belonging.

How do you see the cultural identity of Montenegro 20 years after the restoration of independence? How do you comment on the situation in the field of art and artists, primarily on the art scene?

I see the cultural identity of Montenegro as something multi-layered and precious, created at the meeting of different traditions, religions and cultural influences. It is precisely in this diversity that I see its special value and potential. However, culture is not something that exists by itself - it requires attention, continuity and a serious attitude of society towards its importance.

When it comes to the art scene, I think that there are many talented and dedicated artists in Montenegro, but that the conditions in which they create are often not at the level of their quality and energy. Artists often rely on their own efforts and personal initiatives to achieve visibility and continuity of work, especially when it comes to international presentations. I am not saying this from a position of pessimism, but from the need to be honest with reality. Art should not be on the margins of social interest, because it is not a luxury or decoration, but an important part of the identity of a society and the way it speaks about itself. Despite the challenges, I believe that the art scene has strength and potential, but that it deserves more systemic support, space and trust.

How challenging is it to be an artist from a small country and build visibility on the international scene?

Of course it is challenging. Building an artistic path and international visibility from a small country requires much more than talent alone. It requires patience, serious organization, and long-term commitment. Personally, I always have my short-term and long-term goals and I try to approach them responsibly, without improvisation, with a clear awareness that serious things take time. I prepare and arrange some exhibitions a year in advance. Behind each presentation there is a lot of work that the audience often does not see - from communication and organization to thinking through the installation itself and how the works will live in a certain space and context. That is precisely why the international scene is not a place for quick results, but for continuity and perseverance.

However, I believe that our region is a hotbed of talent. There is a strong creative energy and many gifted people in this region, not only in fine arts but also in other fields of creativity. However, talent is only the beginning of the journey. When an artist steps into the world, discipline, consistency and the willingness to persevere even when the path is not easy become equally important. In the end, I think that an artist from a small country may bring an additional challenge, but also a certain advantage - the authenticity of experience and sensibility that can be recognized and understood much more widely than we sometimes think. That is why I believe that borders are not crucial when there is serious work and a sincere artistic need.

Does art cross borders more easily than the societies it comes from? Do you perhaps feel that sometimes it is necessary to first prove yourself outside of Montenegro in order to gain satisfaction in your own country?

I think that art often crosses borders more easily than the societies from which it comes. Painting, music or literature do not require translation in the classical sense - they communicate with emotion, experience and an inner feeling that people recognize regardless of language or geography. This is precisely why art has a special power to connect spaces and people. When it comes to the recognition and evaluation of artistic work, one can often hear the unwritten rule that an artist is not appreciated enough until he or she is confirmed outside the borders of his or her country. There is probably some truth in that, not only in our country but also beyond. However, I would not talk about it too much or view the matter through the prism of resentment. For me, it is more important that the artistic path remains honest and consistent. Of course, it is nice when work is recognized in an international context, but true satisfaction comes above all from the feeling that you have remained true to your expression and that what you create has its own life and its own communication with the audience, regardless of where it is located.

What would you like the audience in Belgium to take away from encountering your works, an emotion, a question, an image of Montenegro or perhaps something universally human?

I would like the audience to take a little of all this with them. Of course, I would be happy if they could feel and see Montenegro through my paintings - not only as a geographical space, but as a feeling, a layered culture and a space of different traditions and sensibilities that together build its identity. But it is equally important to me that something personal, internal happens in front of the painting. Art does not always have to provide an answer; sometimes it is enough to awaken an emotion, a memory or a question that a person carries with them even after leaving the gallery.

I believe that when someone truly feels Montenegro through my paintings, they will also recognize emotion in them. And emotion is perhaps the most universal language of art, something that transcends borders, languages, and differences between people. It is in this meeting of the local and the universal that I see the meaning of every artistic dialogue.

You often exhibit abroad, will and when will the audience in Montenegro be able to see your works?

Of course. Although I often exhibit abroad, it is very important for me to be present on the domestic art scene. I am an active member of the Association of Fine Artists of Montenegro, a member and president of the Art Club “Kula” from Rožaje, through which we have been trying to contribute to cultural life and the affirmation of art for years. A special place in my current work is occupied by the group “Nas 9”, which consists of nine artists from Montenegro. In recent months, this artistic team has been very active and we have had numerous presentations, both in Montenegro and abroad, including an exhibition in New Delhi, India. Such cooperation has a special value for me, because it shows how much shared energy and artistic dialogue can open up new spaces for action. When it comes to the audience in Montenegro, they certainly have the opportunity to follow my work. Our exhibition is currently underway at the “Most” gallery in Podgorica, while the next presentation has already been arranged in Porto Montenegro. I believe that it is important to maintain that continuity and to be present among the domestic audience as well, because each space and each audience brings a different dialogue with the work of art.

Art that communicates far from its place of origin

In March you also presented yourself in New York. How did that exhibition go?

When it comes to New York, it was my second solo exhibition in that city, which has a special meaning for me. I first exhibited in 2024 at the Bosniak Cultural Center, and the same exhibition was also presented at the Hilton Hotel in Times Square. That experience remained in my strong memory, not only because of the space and the city itself, but also because of the encounters and communication that art naturally creates there.

At the request of our diaspora, this March I had another solo exhibition at the Bosniak Cultural Center. I am especially pleased that this event was attended not only by our people who live and work in America, but also by members of other nations, including Americans, which confirms that art can open a space for dialogue even when we come from different cultural and life experiences. The event was given additional weight by the address by Merlinda Ketz, who serves as the District Attorney of Queens. Such moments show that artistic events can have a broader social and cultural significance, transcending the boundaries of the gallery scene itself.

It is a great honor for me to have exhibited twice in such a significant center and city as New York in the space of two years. I see this not only as a personal recognition, but also as confirmation that art created in our region can find its audience and achieve sincere communication even far from its place of origin.

Persistent motifs of tradition

Your work has been shaped and supplemented over the years, encompassing numerous cycles and phases. When you look back, what do you feel has changed in your expression, and what has remained the same?

Looking back, I would say that the way in which certain motifs develop and transform has changed, but that the essence of my approach to painting has remained the same. This relationship to painting has always been fundamental, layered and in a certain sense traditional. I love the process of building a painting, its gradual emergence through underpainting and layers, through patient work that does not require quick solutions, but time and an inner dialogue with the canvas.

Motifs of tradition have remained permanently present in my work. Even when the paintings are highly abstracted, there is almost always some note of heritage and cultural memory - often recognized through gold embroidery or details that carry the spirit of tradition, but translated into a contemporary visual language. This is not a conscious need to depict tradition illustratively, but something that naturally belongs to my sensibility and the way I experience painting.

On the other hand, I travel a lot and participate in various art symposia and international meetings, which inevitably brings new impulses, experiences and ideas. Every encounter with other artists, cultures and spaces leaves a mark and opens up new questions. However, what is important to me is that, despite these influences and new experiences, I preserve my own expression and my own artistic style. I believe that this is exactly how an artist develops - not closing himself off to the new, but not renouncing what essentially defines him.