Liliana's fascination with texture and surface has undergone various transformations through almost two decades of exploration, questioning their roles, influences, artistic past,
present and future, opposing, juxtaposing, decomposing,
composing each or both in different techniques, with different media, as well as with various compositional elements. Each of these phases represents a surprising turn to another medium and symbolism from the previous one, althouth they remain unexpectedly united by the same or similar leading idea.
Abstract bird-eye-landscapes from the period 2003-2006 were at first dominated by stiff lines, bold colours and pasty contrasts within surfaces. This would soon (2007-2010) bifurcate in more demanding polyptichs, with quite temperamental, expresionistic treatment.
Liliana's polyptichs fit into general expressionistic tendency to deform the surface.(...) Contrast is a logical consequence of such artistic process and the tendency to emphasize differencies and similarities. The individualization and deformation of the landscape were thus brought to its zenith." by Milos Stankovic, art historian, forword for the exhibition of L. Vidakovic "Processes-
Signs-Landscapes" in Belgrade, Artinfo , 2 011 )
By 2011 the artist turns away from the colour, canvas, acryl and oil, with a strong urge to experiment exclusively with the relation between texture and surface. The pencil, watercolor and paper/cardboard, overlapping of contrasting polyptichs, geometry, opening spaces, abstract opposed to figurative three-dimensionality and optical elements lead direct to the collage.
1980 - Ljiljana Vidakovic was born in the town Brcko , republic Bosnia and Hercegovina,
1993 - Having moved to Sombor, Serbia, after break-
out of the war in ex-Yugoslavia, as a pupil receives first artistic recognitions (first prize
for a drawing at the youth and childrens'
festival "Zmaj's Childrens' Games" ), and others
' Games"), and others.
1999-2003 - Attends Academy of Fine Arts in Belgrade,
with painting as a main subject (mentor:
4/2004 - First solo exhibition in Liliana's hometown,
2004 - The artist is accepted in ULUBiH
(Association of Artists of Bosnia and
Hercegovina), as a regular member
2005-2006 - After first several important exhibitions,
Liliana spends a year on postgraduate
exchange programme in Fine Arts and
design in Plymouth, UK
2006-2008 - Specialization postgraduate studies at the
Academy of Fine Arts in Belgrade
(mentorship of prof.mr.Vladimir Velickovic)
2008-2016 - Works as a docent for subject "Composition"
at the Academy of Classical Art, Educons
University, in Sremska Kamenica, Serbia;
at the same time continuing to exhibit her
art mainly in ex-Yugoslavian countries,
also in Western Europe and USA
2011 - Included in "30 best contemporary artists of
Bosnia and Hercegovina", with a
participation in a documentary film by
Federal TV 1 channel
2/2012 - Liliana is accepted as a member of
ULUPUDS (Association of Fine Artists
and Designers of Serbia)
2012-2013 - Attending and completing a certified
one-year-course of graphic design at the
IT-Academy, Zemun, Serbia
2013-2018 - Doctoral studies of Visual Arts at the
Academy of Contemporary Art in Belgrade,
Serbia, with PhD thesis: "Object in
4/2016 - Receiving the first prize on International
Drawing Biennale in Smederevska
2016 - Officially begins to live, work and explore
art, art associations' systems and other
artists in Munich, Germany
2017- - Beginning of Liliana's more intensive and
recognized exhibiting activity in Munich
and sorrounding cities
2019- - After several applied art courses, Liliana
dedicated this year to learning in order to
satisfy even more curiosity of choosing
among challenging artistic paths that pull
in different directions at the same time.
"The year 2020 is going to bring surprises
in the galleries", says the artist.
"Liliana Bauer uses fabrics in her collages, allowing them to
devour each other with unexpected overlaying, that lead the
artist to her desired achievedment, literally the name of one
of her works, "Blinding Paths". (by Katharina Aurich,
Süddeutsche Zeitung, 12.11.2017)
"The works of Ljiljana Vidakovic reflect a strong individualism, an impression deep understanding of a
personal position, which gives her a certain security, self.-confidence and a liberal attitude to a creative art.
A level of of an individual's maturity depends on responsibility for fitting in the existing standards of the art theories, as well as an appropriate treatment of a personal style (...)".
(By prof.Mr. Branko Miljus, from his recommendation letter for Liliana Bauer for the Academy of Fine Arts in Plymouth,UK, 2005
In the middle of this process, already teaching at an art academy. Liliana begins her doctoral studies of fine arts, with
an interest for the postmodern, multimedial, versatile and theoretic. This iinterest had pushed her just a year before in a research of photography, montage, digital & vector drawing and graphic design at an IT-course. All this was a base for further, five-year-long, serious studies. There was also a brief exprimentation, in 2014, with objects in space, that opened another angle of looking at the object, texture and space.
After a short time Liliana dives in her previous fields of interest again, this time she is testing the direction of cyclic repetition of historical, XX century avantgarde influences, on contemporary approach to art, after Hal Foster's well-known conclusion. Paralel with writing of her thesis "Object in postmodern art", the artist physically compares her own, past and present, relation to the techniques, works of various contemporary artists ,similarities and differences in society, technology and psychology fromvarioius
moments in the XX century art with the present moment.
The question also includes an assumption that at least further into the XXI century the art is going to innovate, create and criticize, using examples of early XX century movements.
Liliana herself returns to assamblage and collage on canvas, intuitively, but at the same time trying to "catch" the point at which her artwork, existing on a flat canvas surface, takes actions towards becoming, as much as possible, a 3D object. In the process many materials were tested, while techniques, space, texture, symbolism and personal drama became a sort of means of developement of compositions that had no time limits for developement. In the moment of the artist's doctoral exam, that "moment in time" was dominated by mostly geometrical compositions with fabrics, wood, wire, nylon, construction materials such as net and styrofoam, knails, bamboo, wax cloth, etc.
As Liliana moves to Germany somewhere at the same time as this phase was at it's peak, with the new artistic environment, reality and tastes, she continues, though, to
explore, and soon returns for black and white, space-troubled, collages, this time defined by optical element, illusion or merely shown paralels, among real texture, it's geometric, as well as realistic, representations. There are several paths, each worth following, but it's successful if done conscioussly and slowly.
"My art professors were right when they clamed that an artist possesses a large number of expression methods.
Of course, some artists dedicate their lifetime to exploring, let's say, similar approaches to the same theme, or vice versa...On the other side, some change dramatically, like Picasso.....Everything depends on the author, and it takes an unbelievable amount of introspection, research, reading, thinking, talking, being
motivated by works of other artists & other branches of
cultural creativity, etc....Anyway, above all, it takes a lot of
- work.(...)" (From the interview of Liliana Bauer by Snezana Mijic, Tugurium-wordpress, 2013)