Venice, 11.05–24.11.2019.

Djordje Ozbolt was born and raised in Belgrade.
He studied architecture at the University of Belgrade.
In 1991 he moved to London, where he works and lives to this day.
In London, he studied at the Slade School of Fine Art and finished his post-graduate studies at the Royal Academy of Art.
Over the years he traveled a lot and lived for a while in the Indian Himalayas, as well as in New York where he attended New York Studio School.
While living abroad he maintained constant contact with Belgrade and people from Serbia.
Presently he divides his time between studios in London and Belgrade.

Solo Exhibitions
  • Serbian Pavilion, Venice Biennale, Venice, IT
  • Lost and Found, Gallery Baton, Seoul, KR
  • For better or worse, Taro Nasu, Tokyo, JP
  • Brave New World, Hauser & Wirth Somerset, Bruton, UK
  • Mars in Capricorn, Herald St, London, UK
  • The Grand Detour, The Holburne Museum, Bath, UK
  • More Paintings About Poets and Food, Hauser & Wirth, New York, US
  • Djordje Ozbolt, Taro Nasu, Tokyo, JP
  • Mens sana in corpore sano, Herald St, London, UK
  • Who Say Jah No Dread, Hauser & Wirth, Zurich, CH
  • Same, Same but Different, Taro Nasu, Tokyo, JP
  • Herald St, London, UK
  • Galerie Rudiger Schottle, Munich, DE
  • Tell them I said something, Hauser & Wirth, Zurich, CH
  • 303 Gallery, New York, US
  • Taro Nasu, Tokyo, JP
  • Herald St, London, UK
  • 303 Gallery, New York, US
  • Nyehaus, New York, US
  • Taro Nasu, Tokyo, JP
  • Monica De Cardenas, Milan, IT
  • Wanderings of a Pilgrim in Search of the Picturesque, Herald St, London
  • New Paintings, Ibid Projects, Vilnius, LT
Group Exhibitions
  • Belgrade Biennale, Belgrade, RS
  • Summer Show, Carl Kostyál, Stockholm, SE
  • Steps to Aeration, curated by Sarah McCrory, Tanya Leighton, Berlin, DE
  • Neither, Mendes Wood DM, Brussels, BE
  • Fobofilia, Fondazione Sandretto Re Rebaudengo, Turin, IT
  • Love: The First of the 7 Virtues, Hudson Valley Center for Contemporary Art, Peekskill, US
  • Live and Let Die, Modern Art, London, UK
  • UndeREALism, à cent mètres du centre du monde, Centre d'Art Contemporain, Perpignan, FR
  • Beasts of England, Beasts of Ireland, Visual: Centre for Contemporary Art, Carlow, IE
  • Under Realism, Centre Culturel de Serbie, Paris, FR
  • Bush of Ghosts, Cherry and Martin, Los Angeles, US
  • Figure Studies: Recent Representational Works on Paper, curated by Domonic Molon, Contemporary Art Museum St. Louis, US
  • The Allure of the Collection, National Museum of Art, Osaka, JP
  • beholder, Talbot Rice Gallery, University of Edinburgh, Edinburgh, UK
  • Djordje Ozbolt and Albuquerque Mendes, curated by Nuno Centeno, The Mews, London, UK
  • Herald St, Taro Nasu, Tokyo, JP
  • The Library of Babel/In and Out of Place, Zabludowicz Collection, London
  • Directions, A Palazzo Gallery, Brescia, IT
  • Djordje Ozbolt and Peter Coffin, Herald St, London, UK
  • 5000 Years of Modern Art – Painting, Smoking, Eating, Villa Merkel, Esslingen, DE
  • Prague Biennale, Prague, CZ
  • Salon Nouveau, curated by Jasper Sharp, Engholm Engelhorn Galerie, Vienna, AT
  • Old School, Hauser Wirth & Colnaghi, London, UK
  • Meetings with Remarkable Men, Jack Hanley, San Francisco, US
  • Old School, Zwirner & Wirth, New York, US
  • The Wanderings of a Pilgrim in Search of the Picturesque, Herald St, London, UK
  • A Broken Arm, 303 Gallery, New York, US
  • I Love My Country but I think we Should start Seeing other People, Jack Hanley, San Francisco, US
  • Group show, Galerie Rudiger Schottle, Munich, DE
  • Timesharing, Jocelyn Wolff, Paris, FR
  • Tate Trienniale, curated by Beatrix Ruf, Tate Britain, London, UK (cat)
  • Herald St & The Modern Institute present, Gavin Brown’s Enterprise, NY, US
  • Other People’s Projects, White Columns, New York, US
  • Pablo Bronstein, Cary Kwok, Djordje Ozbolt, Liste 05, Basel, CH
  • London in Zurich, Hauser & Wirth, Zurich, CH (cat)
  • Zoo Art Fair, Millers Terrace Stand, London, UK
  • Esoterick, IBID Projects, London, UK
  • Gatsby, New Lansdowne Club, London, UK
  • Atelier Something, Springfield House, London, UK
  • BBC Broadcasting House, London, UK
  • Honesty is the Best Policy, The A Gallery, London, UK
  • Slade Show, J Walter Thomson, London, UK
  • Suspect Strategies, Pearson Gallery UCL, London, UK
Serbian Pavilion

The first initiative for the participation of the Kingdom of Yugoslavia in the Venice Biennale was in 1931 when the then Yugoslav consul in Trieste sent a letter to Belgrade with the assertion that participation in the art event would significantly contribute to the strengthening of cultural status of the kingdom abroad.

However, it was only seven years later, in 1938, that the Yugoslav Pavilion in Giardini was formed.

After the signing of the Treaty on Non-aggression and Friendship between Italy and Yugoslavia on March 25, 1937, which significantly improved the political relations between the two countries, their dialogue in the field of culture was intensified, which altogether led to the participation of the Kingdom of Yugoslavia in the Venice Biennale in 1938.

Negotiations on the possible building of the Yugoslav Pavilion began in mid-1937, when a large exhibition of Yugoslav artists was opened in Rome, organized in the framework of bilateral cultural cooperation with Italy.

The Yugoslav pavilion was formed as part of a larger complex that included five identical exhibition rooms, whose construction began in 1932 on the island of Sant’Elena in Giardini, according to the plans of the Venetian architect Brenno del Giudice.

At the beginning of January 1938, Prince Paul Karađorđević regent of Yugoslavia told the president of the Biennale, Count Giuseppe Volpi di Misurata – who at that time was staying in Belgrade for the preparation of a representative exhibition "Italian portrait through centuries", later held at the Museum of Prince Paul – that the Kingdom of Yugoslavia would buy its own pavilion.

The Pavilion of Yugoslavia began to be built in February 1938 to be completed for a solemn inauguration on June 1, 1938.

The first commissioner of the pavilion was Milan Kašanin, at that time the director of the Museum of Prince Paul. For the first presentation at the national pavilion, Kašanin selected five painters – Matija Jama, Vladimir Becić, Ljubo Babić, Petar Dobrović, Milo Milunović and one sculptor – Toma Rosandić.