“Direction” by Ismet Ramićević – Exhibition

Born in Dubnica, Sjenica, Serbia, in 1960. Graduated from the Faculty of Fine Arts in Skopje, Department of Sculpture, from the class of Prof. Petar Hadzi Boshkov, in 1985. Member of DLUM (Macedonian Association of Fine Artists) since 1987.

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Works at the Faculty of Fine Arts (University St. Cyril and Methodius) in Skopje at the Department of Sculpture as an Associate Professor of Sculpture, Sculptural Techniques and Drawing. Up till now, he had 18 solo exhibitions in Skopje, Prilep, Plovdiv (Bulgaria), Nis (Serbia) and New York (USA), and participated on many important presentations in Skopje, Rijeka, Cetinje, Sarajevo, Murska Sobota, Ljubljana, Novi Sad, Pancevo, Washington, Dresden, Apatin, Vienna, Bruxelles, Sofia, Warsaw, Paris, Berlin, Tetovo, Ohrid, Nuremberg, Los Angeles, Shumen, Basel, Cacak, Rome, Belgrade, Tallin, Podgorica, London, Rovinj… He gained many awards for his work.

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Exhibition of Ismet Ramićević in Cifte hammam

On the October 28, 2014 (Tuesday), starting at 8 pm, NI National Gallery of Macedonia, in the object Chifte Hammam will present the solo exhibition of Ismet Ramićević titled “Direction”.

Pokana IsmetdobraLocating the position of Ismet Ramicevic within a certain framework of the history of contemporary Macedonian art, certainly as an inevitable determinant we must point out his affiliation with the generation that began creating in this territory in the eighties and defined the Macedonian art scene in the nineties of the 20th century. In terms of continuity in the work, we can conclude that the latest exhibition titled “Direction”, again represented in the space of Chifte Hamam (part of the National Gallery of Macedonia), Ismet Ramicevic remains true to the principles defined in his work. At a level of aesthetics, the author continues his inclination to vertical forms transformed into simplified cylindrical shapes that are present in his entire work. From a technical aspect, as an inheritance of the use of sculptural materials, the author strives to exploit to the maximum all the possibilities of the synthetic materials and the final visual effect that is achieved with each of them, however without insisting on the durability of the objects, but on the simplicity of the industrial form.

This multilayered project enters strongly in several areas of engagement (social, political, environmental) through several constructed entities, visually differentiated and constructed in different synthetic / industrial materials (polystyrene, nylon, polyester, concrete…), which in turn reflects the complexity of the idea that (again) talks about the unstoppable dehumanization of man. The project “Direction” by Ismet Ramicevic ultimately is a very personal critique of the contemporary apathetic, even pessimistic and extremely defeatist attitude of man toward the social / political / environmental issues and the possible directions of our activities, while emphasizing the human inability to deal with the given global conditions.

Born in Dubnica, Sjenica, Serbia, in 1960. Graduated from the Faculty of Fine Arts in Skopje, Department of Sculpture, from the class of Prof. Petar Hadzi Boshkov, in 1985. Member of DLUM (Macedonian Association of Fine Artists) since 1987. Works at the Faculty of Fine Arts (University St. Cyril and Methodius) in Skopje at the Department of Sculpture as an Associate Professor of Sculpture, Sculptural Techniques and Drawing. Up till now, he had 18 solo exhibitions in Skopje, Prilep, Plovdiv (Bulgaria), Nis (Serbia) and New York (USA), and participated on many important presentations in Skopje, Rijeka, Cetinje, Sarajevo, Murska Sobota, Ljubljana, Novi Sad, Pancevo, Washington, Dresden, Apatin, Vienna, Bruxelles, Sofia, Warsaw, Paris, Berlin, Tetovo, Ohrid, Nuremberg, Los Angeles, Shumen, Basel, Cacak, Rome, Belgrade, Tallin, Podgorica, London, Rovinj… He gained many awards for his work.

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ismet ramicevic 2

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Photos from the opening of the exhibition.

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Jubilee exhibition of Vasilije Popovic – Cico (1914-2014)

Please note that the October 4, 2014 (Saturday), beginning at 20:00 pm, organized by the NI National Gallery of Macedonia and Museum of the Macedonian National Theatre, in Daut Pasha Hamam will be presented jubilee exhibition Centential, Vasilije Popovic – Cico (1914-2014). The exhibition is part of the event “White Night”. It will be open until November 4, 2014.

pokana CICO

Vasilije Popovic – Cico was born in 1914 in Shkodra, Montenegro, and in 1938 he graduated from the Art School in Belgrade. He began working as a set designer in 1939 (along with Nichola Martinoski and Tomo Vladimirski) then the National Theatre ” King Alexander I” in Skopje (till 1941). From April to November 1941 he was a prisoner of war in German camps in Lübeck, and Nuremberg Hoenfelsu, while from April to September 1944 was a military internment camp in Upper Dzumaja. Upon release, he went to partisans and worked at the Headquarters of the National Liberation of Macedonia (Upper Village Vranovci). At the end of the year he became a set designer in the Macedonian National Theatre, the duty he performed until his death. From 1945 he worked as professor of drawing at the newly decorative art schools (now a National School of Fine Arts “Lazar Licenoski”) in Skopje. In the period 1945-1950 he worked with propaganda fine arts (literacy , harvest , selection), by making the badges, emblems etc. He worked intensively on cartoons, drawings and watercolors, illustrations and equipment book illustration and the first Macedonian reading book. He was creator of the Macedonian state is back and the first back of Skopje. Completed several study trips to Czechoslovakia, Italy, Greece, Poland and France. In 1957 he opened his first solo exhibition of watercolors and cartoons. Between 1960-1962 is resident cartoonist at the newspaper “Nova Makedonija”. Died December 10, 1962 in Skopje.

For his work, Vasilije Popovic – Cico has won numerous awards, including the Award: art work of the NRM Government and National Award for set design (Skopje, 1947); National Award for set design (Skopje, 1948); Award for art from the NRM Government (Skopje, 1950); Golden Arena for set design of the film “Miss Stone” (Pula, 1959); October prize for political cartoon (Skopje, 1960); October award for set design of “Bloody Wedding” by Lorca (Skopje, 1962). He was awarded the medal “Merits” Order and the “Thesis III order” for the development of the Macedonian culture. Posthumous realized more independent, commemorative and retrospective exhibitions devoted to his work in Skopje (1963, 1971, 1972, 1973, 1981); Belgrade (2012) and Prilep (2014).

The work of Vasilije Popovic – Cico is presented through texts by Mirjana Taleska, curator advisor; Dr. Jelena Lužina and Dr. Ivana Jarchevska. Taleska in his review of the work of Vasilije Popovikj- Cico emphasizes the following: “In the history of modern Macedonian art of the 20th century, Vasilije Popovic – Cico occupies a specific, separate and groundbreaking position. It is determined by the breadth of creative areas in which the artist has expressed himself, from his pioneering role in several areas, especially in caricature and scenic design, as well as the seriousness of the results achieved in each of them. ( … ) The man, with all his flaws and virtues, remained in the centre of his attention. He loved and observed the people he met, he socialized with them and unwittingly he analyzed them psychologically.” Lužina believes that “Today, Cico is deservedly treated by the Macedonian cultural history as almost a universal artist, as some kind of Renaissance painting and drawing phenomenon. When his complete creative assets are considered and summarized – graphics, drawing, painting, scenic design, costume design… – it will be undoubtedly established that it is a question of a creator, who, with equal passion and easiness, worked in different art techniques and genres, managing to be equally superior in all of them.” while Jarchevska pointis out that “The style elaborated by Vasilie Popovic-Cico and the aesthetics and the treatment with which he deals with the scene is the best work of visual imagery in the Macedonian theatre production. His sudden departure in 1962 left a lot of analysis and discussions about his work, and many questions about the capabilities and the possible creative solutions that would have been achieved by him, considering the progress and the ever increasing technical opportunities for solutions on the stage.”

The exhibition presents more than 260 works, including his personal belongings (watercolors, sepia, drawings, cartoons, setting and costumes sketches, costumes realized, drafts of books and publications, and his portraits made of his colleagues Dimo Todorovski, Dimitar Kondovski and Nikolov – Koco Fidanovski) that are owned by: NI National Gallery of Macedonia, Museum MNT, Museum of Contemporary Art – Skopje, Museum of the City of Skopje, Macedonian Academy of Sciences and Arts, State archive of the Republic of Macedonia, Vardar Film Macedonia, Association of writers of Macedonia, Gordana Popovic – Vasic (daughter of the author), and a number of private owners.

The exhibition was opened by Mr. Koce Trajanoski, mayor of Skopje and Professor Ljubisa Georgievski.

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Photos from the official opening …

cico otvoranje najgore

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MO(NU)MENT by Goce Nanevski in NGM

MO(NU)MENTalism The newest achievement of the author Goce Nanevski titled simply “MO(NU)MENT” represents a kind of continuation of his previous research in the area of three-dimensional objectness.

Pokana Goce Nanevski

 

In the given case, despite the minimalistic geometry emphasized in his early works (starting from the first solo exhibitions in the Youth Cultural Centre, Skopje, 1998 and Museum of the City of Skopje, 2002), during the recent years, starting from 2006 (Road, National Museum of Veles, 2006, Fifty or Fifty, Museum of Contemporary Art – Skopje, 2006), and especially evident in his project Fifty or Fifty, presented at the 53rd Biennale in Venice, of particular interest to the author’s activities is the development and the realization of monumental objects and installations (accompanied by sound and video) that could simply be described with the term mobile.

Important for concretizing the technical and mechanical aspects of the medium is Goce Nanevski’s interest for the principle of movement, not only in sculpture, but movement as a concept in the creation and existence of art (and life in general). The author’s fascination with movement is associated with a mobile mechanical segment, present in the aforementioned exhibitions since 2006. This mechanical segment – flow meter from a fuel dispenser, on a level of a symbol or an artifact or a code at the bottom line, is a sequence of reality closely related with meaning and interpretation of the notions of movement, space, time. Even though by education and vocation he is a sculptor, through these few indicated exhibitions Nanevski’s diversion from what has been called “traditional content” (B. Ivanov) is concretized, in different mediums, not only object, but video as well. Furthermore, the said projects have announced a developmental path to liberation from the formal aspect of the sculptural; this liberation is a basis for different interpretations that cover more in the area of engagement through touching (directly or indirectly) the cultural and social conditions on one side, and the emotional and psychological conditions of the person on the other side.

Perceived from a technical perspective, the complexity of the object itself covers several sequences that contain professionally produced mechanical and electronic parts, that is a kinetic moment, but also electronic software that allows movement of the ready-made object, and all supplemented with video projections. The idea of physical movement is not new and unknown in art, and the mobile objects themselves are widely defined as static sculptures and objects whose elements can move and shift, whereas those mechanical works that move in space, conditioned by software and with their layout and behavior indicate even robotic elements. This sculptural-mechanical system, executed in monumental dimensions, in formal and apparent sense, contains the elements of both different systems.

The spin as a moment of movement, that is a mobile mechanical moment, is also of crucial interest for the latest project by Goce Nanevski. Central element/object of the mega-project “MO(NU)MENT” is the cult “Fico” (the car Fiat 500), an object removed and dislocated from its environment, and set on a “pedestal”, consequently gaining the function of an aesthetic object. From a sociological aspect, this retro design icon of the everyday family transport in the Seventies of the XX century (in Europe somewhat earlier), even though already very rarely, nowadays almost completely absent automobile, is monumentally perceived by the author as a synonym of life and the industrial development in general, and as one of perhaps the most popular artifacts of one period, a product of mass culture with exceptional industrial design and practicality. Furthermore, this aesthetically defined mechanism with its practicality in terms of economic affordability is a symbol of freedom of movement. The concept of movement as freedom is represented through several videos with different “protagonists”, who set in daily “spin” situations emphasize the contrast static-mobility.

Goce Nanevski’s approach to his objects is serious, but with certain and more stressed dose of irony and criticism. Although this critical aspect is not immediately readable and imposed, it is reflected in the views of the author, according to whom, the project “MO(NU)MENT” in its basis should map a pictureof the man defined as a responsible entity who influences his surroundings and vice versa, when his decisions and reactions are conditioned by the mutual bond individual-society, through examination of the systems of probability.

The complex project “MO(NU)MENT”, through the efforts to define the notions of movement and time, whose phenomenal appearance is the subject of interest for interpretations of different physical-mathematical and philosophical nature from ancient times until today, is seriously engaged and ultimately refers to man’s existential condition of placement and occurrence in today’s social and societal
frameworks and systems.

Maja Chankulovska-Mihajlovska

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Photo’s from the official opening…

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Maja Kirovska with “Organisms” (exhibition)

Presenting the exhibition “Organisms” of Maja Kirovska in Chifte hammam.

Maja Kirovska postavka (15)

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Angel Miov’s “Pull the strings…” (exhibition)

Game of (pulling the) strings… The explication of Angel Miov’s latest project, ironically titled “Pull the strings…”, offers several open interpretations of the title itself, but also of the artistic material with variable context and meaning in modern life.

angel miov postavka (4)

In the first place, the double meaning (or ambiguity) that is suggested in the title alludes to: the art aesthetics of the material that the artist used in the creation of his works – strings of synthetic material (curtains); the process of making the work itself (simultaneous strokes, pulling multiple lines at once), but also to the metaphorical meaning that this phrase contains and denotes in everyday speech.

The leading artistic expression of Angel Miov starts from the classical approach to creating a work of art and the use of basic painting (more specifically drawing) principles that start from the line as a tool and symbol. Drawing multiple lines simultaneously creates different situations of which part is random and some are consciously approved by the artist. The linearity is emphasized by the free abstract lines, but also by those “disciplined” ones that create various stories/displays.

angel miov postavka (8)

angel miov postavka (7)

angel miov postavka (6)

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angel miov postavka (3)

angel miov postavka (1)

angel miov postavka (2)

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Maja Kirovska and Angel Miov in Chifte Hammam

Game of (pulling the) strings… The explication of Angel Miov’s latest project, ironically titled “Pull the strings…”, offers several open interpretations of the title itself, but also of the artistic material with variable context and meaning in modern life.

Kirovska Organizmi Cifte -1

In the first place, the double meaning (or ambiguity) that is suggested in the title alludes to: the art aesthetics of the material that the artist used in the creation of his works – strings of synthetic material (curtains); the process of making the work itself (simultaneous strokes, pulling multiple lines at once), but also to the metaphorical meaning that this phrase contains and denotes in everyday speech.

The leading artistic expression of Angel Miov starts from the classical approach to creating a work of art and the use of basic painting (more specifically drawing) principles that start from the line as a tool and symbol. Drawing multiple lines simultaneously creates different situations of which part is random and some are consciously approved by the artist. The linearity is emphasized by the free abstract lines, but also by those “disciplined” ones that create various stories/displays.

Hence the eternal question “What does it mean to draw? How does one achieve that?” ( Vincent van Gogh, Letters) is marked as an open process, transcendental and immanent, offered to the audience that is invited to participate interactively in part of that game, in order to experience the process that is constantly changing and never ends.

It is precisely this process of creation as a most intimate part, which is emphasized in order to feel the triad of artist – process – work, and to present the process as the most intimate and most fun part of the creation of the artwork, as a part separate from the idea. Although initially it has a classical approach, the project contains a conceptual ready-made approach, expressed through the use of various ready synthetic materials and objects – in the beginning these are drawings with fringed fabric (curtains), then ready objects (hats, objects of plexiglass), photographs, videos, texts, objects, but also natural materials (glue, pigments) that lead to the construction and reconstruction of the work made of ready materials.
The final result is a mosaic of seemingly chaotic situations, intertextual relations, absurd stories and aesthetic values that refer to Eko’s “forest of information with countless symbols”, in which there are no crystal clear and unambiguous ideas, because the information process is parallel (intertwined) in the postmodernist situation of millions of stories, unfinished sentences that suggest something other, were everything is touched by curiosity and is left to free interpretation.

The erotic moment, as a part of this open story, points exactly to the witty moment in all its absurd omnipresence. The different moments and references (the colonel action painting, the neo-Dadaist stories, the symbolism…), through the illustrative quality of the retro characters and drawings with “modern” applications, are a sublimate of all the ambiguous information (strings) in this interwoven picture.

The thematic interest that prevails in the works of Angel Miov is examining the processes and it relies on the drawing as understanding and other media as displaying/ recounting of things. The completion of this process is incorporated in the engaged moment which, in the stories of Angel Miov, is expressed through the attitude of constant and cynical questioning of today’s “autonomy” of the work, whereby the aesthetic polyvalence multiple interpretation are conditioned by the freedom of form and expression, the hyper-production of works and events, vague and complex. which necessarily impose on and radicalize experiments with language and form their ambiguous meaning, as well as their ephemerality.

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Ivana Pirkovska at Chifte hammam (exhibition)

„The reason man first directed his gaze towards the sky was not only to satisfy his intellectual curiosity. What man was actually looking for in the sky was his own reflection and the order of his human universe.”

  Ernst Cassirer, An Essay on Man

 Ivana Pirkovska postavka (9)

Space, time, virtualization and its art sensation. A game that is constantly renewed. From door to door, from one space to another, oscillating continuously through time past, present and future, here somewhere the magic is hiding of disclosure of the artwork. A new artistic expression and a new “temptation” to reach the pre-source in the quest for a personal and universal truth, in defining our world as part of the infinite Universe : “We find ourselves in an astonishing world. We want to give some meaning to hat we see around us and ask ourselves: What is the nature of the Universe? Where is our place in it, where did it come from and where did we come from? Why is everything as it is? “. (S.Hoking, 2000: 190 )

The exhibition “Virtualization of space – time” is actually the first independent project of sculptor Ivana Pirkovska who belongs to the youngest generation of fine artists. Guided by her contemplative nature, Pirkoska, at the beginning of her creative journey, is really bold in her choice of artistic positions. Her project, with the simple minimalist installations, is reduced to an emphasized conceptual approach, where the central role is that of the play of basic geometric shapes (circle/ball and square/cube). This way she even imposes on us complex questions arising from her special interest in treating problems from the socio-cultural, philosophical-aesthetic, but also scientific and research field. Physics, astronomy, cosmology, Einstein’s theories and questions about the Universe without spatial boundaries, with no beginning and end of time, are the determinants in defining her distinctive artistic approach.

Ivana-Pirkovska-1-480x240Based on this, we can say that the set installations build a complex interactive relationship with the audience, developing deep inside a story as a parallel dialogue on the personal and the cosmic. The key to enter the story is in the Gate, the illusion of pure conceptual lines that vibrate continuously, coming randomly and introducing us unexpectedly somewhere out there, in a new dimension of our imaginary spaces, vaguely touched in our subconsciousness, for it to unexpectedly disappear again, leaving us curiously staring. ” A door, it is a whole cosmos of the Ajar…the source of a daydream where wishes and temptations are collected, the temptation to open up the being to the core of its intimacy, the desire to win all restrained beings.” (G.Bachelard, 2002:302). The infinity of movement and rhythm of life are embodied  through the symbolic play of the circle/hoop and ball in the installation Constellation, referring to the man and his physical, but above all, emotional and spiritual growth, from an embryo to a person, scattered through space – time, as an endless constellation of the human existence. At the same time, the mirror and the reflection in it get an ambiguous symbolism, which refers both to infinity and to the overall illusion of human existence. Hence, in the installation Yesterday, today and tomorrow, the author, with the opposing, parallelly set mirrors, strives to achieve an “integration of thoughts, memories and dreams of man”  who is stuck in the present as a transition between the misty past and vague future.

“The organism is never placed at one point in time. In its lifetime the three forms of time – past, present and future – create a whole that can not be broken into individual elements.” (E. Cassirer, 1998:79). The space-time and the Universe as compositions are placing us upright against a kind of axis of movement, through the crossed lines of strings/rope, which takes place endlessly in space and infinitely in time, putting us in this way in the center of an abstract equation that is impossible to be interpreted using the principle of simple sensory experience. In this sense, M . Bahtin would emphasize “… I find myself at the borderline of the horizon of my view, the visible world is spread before me, but I can never see the line that separates me from the world and the one that outlines me in it.”

 The modern advances in the field of science and technology and the intensive technological progress undoubtedly rekindled a series of questions about man and his existence, about the reliability of our sensory experience, the origin of the world and of life, our place in the endless Universe. Consequently, the possibilities of artistic expression have become bolder and more open, making the artwork an act of creative dialogue with the observer where experiences and knowledge intertwine, both of the personal and the collective consciousness and memory. Somewhere in this frameworks the idea is born and grows of this young author who, deeply in her intimate world, tries to interpret the picture of the Universe and to tell the story of man placed at the crossroads between space and time. To capture the elusive, to keep the transient moment, to find the way to eternity, finally, to find our place in the constellation of endless human existence – this is what each of us is trying to reach. That is why we have a past, that is the reason we exist in the present and hope for the future. We fantasize or dream, ponder and wish… “One can show his entire life if one described all the doors he has closed, and all the doors he wishes to reopen. But is it the same being that opens a door and closes  one?” (G. Bachelard 2002:304)

Маја Nedelkoska-Brzanova

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Opening of Burim Ukici’s Exhibition

Burim Ukici’s painting is magical, mystical, while at the same time real, clean, clear, calm. Like kisses between dreams and reality, like meetings of prose and matter.

burim ukici 1-1

In the paintings he brings more than evocation than observation, more emotion than reality, more nostalgia and an inner need for pillars and identity. This means that Burim Ukici paint what he likes and what comes from within him – the impression of internal developments. The composition and stroke are also conditioned by internal feelings. The expression on the canvas would never have produced “poetry” if this condition had been not previously felt deep inside.

The art structure is partially lost under the pressure of pure painting poetry, known for his coloristic expression.

The artistic forming continues in the spirit of expansion of abstract content. Painting every moment that inspired him to create a painting, not an illustration . With his distinctive and specific colors, red, green, yellow, black, he creates a characteristic harmony of color with which his paintings speak of temporal sequences, of the space and the values of existence that ennoble the psyche of each individual.

The primary emphasis is placed on the emotionality created by the dense colorful descriptions, the quiet expressionist intonation and imagination of painting layers.

The main component in painting Burim Ukici’s painting lies in the sincere expression of richness of color, in the boldness of the formal conception and in keeping pace with temporal artistic tendencies.

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Halide Palloshi

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Exhibition of Ivana Pirkovska at Chifte Hammam

The exhibition of Ivana Pirkovska, titled “Virtualization of space-time”, will open at the National Gallery of Macedonia, object Chifte Hammam, on 12 December 2013 (Thursday), at 20:00 o’clock.

Ivana Pirkovska pokana

The minimalist project of young sculptor Ivana Pirkovska, titled “Virtualization of space-time”, consists of five transparent hanging installations that correspond mutually and complement each other. The project has been designed from various materials (plexiglass, mirrors, colored hoops, ball, tennis balls, colored strings, colored foils, and objects-drawings)…

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