Exhibition “Theoria” by Zoran Poposki in Mala Stanica

The exhibition “Theoria” by Zoran Popovski will be opened on June 15th 2017, in multimedia centre Mala Stanica at 8.00 PM.

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Macedonian interdisciplinary artist Zoran Poposki’s latest project entitled “Theoria” is based on the principles of multilevel research in the field of cultural and social theories and practices, positioning himself as an analyst and critic of a multitude of topics relating to identity, territory, public space, etc.

His current series of post-conceptual drawings entitled Theoria which he has been focused on developing from 2015 onwards, so far contains 65 works (of which the exhibition at the National Gallery of Macedonia presents a selection of 22), and according to the author represents a series of portraits of “monumental figures from the world of philosophy, literature and art, and [his] personal beacons, from Friedrich Nietzsche and Virginia Woolf to Walter Benjamin and Judith Butler.”

The portrait as the basis of visual representation and (in this case) an impulse of signifying practice, can firstly be interpreted on the basis of the standard definition according to which it is a depiction of a character or a figure as the main subject; one of the main characters in the work that is meant to emphasize its physical and psychological particularity, but is also a representation of the memory of a person. In terms of the relationship between the portrait and the self-portrait, it is necessary to emphasize Zoran Poposki’s previous practice in which he has commonly used ” first-person spech.” In particular, the aforementioned topics of interest in Poposki are presented and perceived by the author’s appearance in his own works, upon which he has built the narrative, as well by communicating an ironic and subversive political and social view.

Zoran Poposki’s multilayered suggested narrative is initiated as his personal interpretation of the “character and work” of famous philosophers who have been the founders or have had a major influence on various reference systems of values, and are represented as archetypal images. In a formal visual / artistic sense, their faces emerge as contours from the background or have been painted on them, and insisting on the line that gets the function of a signifyer is a kind of return to drawing as one of the basic artistic elements. Combining different techniques (ink, acrylic ink, graphite, lumokolor, gouache, graphite on paper), as one of the possible reminiscences offered by the author in his drawings are the coloring books and the creative freedom to writing on “the offered forms.”

A crucial topic of interest in the ideologically-autonomous works of Zoran Poposki is the interpretation of the terms ‘culture’, ‘ideology’, ‘identity’, ‘territory‘ and ‘theory’. His latest drawings are dominated by “scattered” fragments of collective cultural memory, of art history of from different periods and regions, details of architecture, texts, ornaments, floral elements, geometric designs, shapes… In such a visualization, all the allegories, messages and values, both in their perceptual as well as aesthetic sense, by means of their juxtaposition to the totality serve to emphasize the intertextuality of the narrative.

In his interdisciplinary visual research, Zoran Poposki positions himself as an interpreter, creating an “open work” with possible networks of inexhaustible relationships present in the complex signifying powers of the images. His visual meta-language in the cycle of drawings Theoria, based on a multitude of sign structures, and conditioned by the linguistic analytical games, contexts and relationships, offers an exciting reading through the reconstructing of the models of postmodern deconstruction of narration.

 

Maja Cankulovska-Mihajlovska

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Systemic matrix or matrix in the system

In one state there is an exhaustive classification of organisms (institutions, bodies) that are part of the system and operate according to certain rules imposed by the highest governing elements in the hierarchical organization.

boris shemov mala stanicaWe are all part of such systems (some kind of manipulated puppets) in which we should fit, and function by set principles and norms. Often we can not fit into the molds, we feel trapped and endangered, our intellect and sound reasoning underestimated and offended, we can not breathe, so we rightfully and openly oppose, strive for our voice to be heard, to be independent, to be separated from the system, to operate as individual organisms parallel to the state. And all this is legitimate, but can we, with subversiveness, using the same (non)mechanisms of the system, the same modes and models, i.e. the weapons of the others (the opposing), to use them for our, affirmative goals on the one hand or, on the other hand, to defy, to criticize, to cynically approach them, the others, and still to be in the “framework” of the system itself? This is one of the key starting discourses for Boris Semov in his latest project “12:05″.

In this project Semov knowingly makes a multimedia, visual and performative experiment in which the point is in the conceptual synesthesia, and not in the exhibition as exhibition. He creates visual stimuli that, according to their aesthetic qualifications are perceived as an exhibition, and between the elements there is a connection and analogy with his previous opuses (nomadism, reference, collage, experimentation, synthetic, industrialism, mass, multifaceted complex conceptualization etc.). The multimedia and complexity, serve only as background as a visual art backup. By using aspects of a position of power, i.e. the syntax “I can,” Semov with art and visual attributes at the exhibition creates spin and manipulation, with the aim of achieving “hidden” purposes, and for individual needs, without notice, with prolonged action, similar to the position of power of the statesmen systems and all the levels of human manipulation to which we are witnesses. Therefore there is the drone , flying robot that is guided manually by remote control and often serves for recording (now banned for use without prior permission) at mass gatherings. Hence the “secret”, “spying”, “disturbing” nature hidden behind their use. It is the aspect of a kind of “control from above,” no matter how “from above” would be understood. Placed inside, the drone produces different, modified and dislocated juxtaposition, to the positions of power, of the manipulators and the manipulated, of anxiety or indifference, fear or ridicule.

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Boris Semov’s tendency with this project is with minimum elements or works (videos, digital graphics and performance indoors) involved to allow the concept to auto-generate in the recipient’s awareness and knowledge, without giving a “recipe” for reading the work and discourses. On the other hand, that moment of self-generating of the work is present in the process of creating the work, with emphasis on the synthetic and industrial moment. The elements of the project (video, digital graphics, drone) are generated largely by themselves (with the help of programs, applications, trained pilots), under the supervision of the artist, but not with predominant intervention by him, putting emphasis on the role of author – creator nowadays and his per sé intellectual input into the process of creating the work.

The video consists of material of intercut footage, filmed with the drone, or extracts from certain mechanical actions whose dynamic and visual synesthesia attracted the attention of the author and somehow fit into the artist’s systematic discourse. The surrealism of the artificially staged footage is irreversible; it creates irrationality that underlines the attractiveness of the psychological chaos, of the systemic without a system. The changing of roles, i.e. placing already known conditions in a new context are particular incursions into the systemic pattern, and the background author atonal music (author Damjan Tsvetkov Dimitrov), manipulates the recipient with stimuli that do not give concrete data and narrative, but they divert or attract their attention.

The photographs – digital graphics obtained with collages of scenes from video materials. Semov uses digital application that confuses giving information that is not appropriate for that program. He shows the materials with a panoramic picture of every single (digitally-generated) as a synthesis of the film. Grouping all the panoramic images together creates a new group “panorama” of a lot of information and the crowd, which as dynamic and visually aesthetic play has long interested the author.

12:05 from Boris Semov on Vimeo.

The performative element of the drone (its presence and maneuvering as an aesthetic element in the exhibition), for the recipient who has no previous knowledge will be a non-artistic act by itself, because it has no inversiveness of meanings in its functionality (it is used to record), there will probably be no discursiveness for it and no authorial intervention (the maneuvering is by third parties). But the act of changing the location of its use, the psychological moment of control and the intrusion inside are some kind of appendices of the conceptual decision of the author to declare this element as part of an art project, and moreover as a key element, a knowledge that the observer will acquire by being the active accomplice in the performance of recording with the drone whose maneuvering, on the other hand, can be interpreted as an industrial ballet.

Pleading to telling “nothing,” to creating an exhibition “with exhibition as a general basis,” to achieving tension and moment of anticipation (even the title 12:05 is seemingly insignificant, and according Semov, is an aspect of anything goes, however is an element that suggests a countdown, and thus something uncertain what follows), Boris Semov creates a project that is current and philosophical. He initiates discussions about important social and socio-political issues, treats the aspect of the system regime, also touching to institutional critique, and actualizes the discourses of art and authorship today, in affirmative and critical connotations. Hence the project “12:05″ once again confirms the complexity of the creative process as an imperative in the need for artistic existence of Boris Semov.

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Looking At Nothing – Desire In The Future in Mala Stanica

Looking At Nothing – Desire In The Future

looking at nothing

The international group exhibition Looking At Nothing (Desire In The Future) is an exhibition realized in order to present in one space the video achievements from authors from our region who intensely and focused deal with the audiovisual, with the power of visual cultures and media and their influences, i.e. “the video as an opportunity for reconsidering and critique of one’s being” – Rosalind Krauss.

The exhibition consists of works by artists who in their visual aesthetic, poetic and artistic language and cultural sensibility have close or similar “tendencies” in terms of “video image,” i.e. recording of certain conditions and perceptions from the physical/creative reality and turning them into visual “muteness” and framed “silences” of the things themselves…

The exhibition Looking At Nothing (Desire In The Future) is consisted of works by the authors Ana Adamovic (Serbia), Tanja Deman (Croatia), Mirna Arsovska (Macedonia), Davor Sanvincenti (Croatia), Goran Skofic (Croatia) Tihomir Topuzovski (Macedonia), Vladimir Nikolic (Serbia), Marko Markovic (Croatia) and Aleksandar Spasoski (Macedonia).

Curator of the exhibition is the art historian Dejan Bugjevac.

looking at nothing 2Concerned are multimedia authors from the region, with significant creative activity and recognition on the international art scene in the last decade, who usually realize their concepts and constructions through media such as film, sound and video projections, photography, video installations and audiovisual performances.

These authors create aestheticized “conditions”, “movements”, “images” and “shots” beyond the usual dominant treatment of the visual language, which is usually filled with psychosocial sequences and informational content and messages from which the viewer in a pragmatic and highly aggressive manner should be relaxingly “upset.”

All videos at the exhibition are “emptied” from their original sound content and represent “pure” moving images and visual shapes and reflections, in which the viewer can enjoy in their sometimes seductive vibrating surfaces.

These works intertwine the personal (domestic) memory, the ambient poetics of repetition that thoroughly trivializes the idea of “thematic beginning and end” of the work, the static silence of the video image, the subtle aesthetics of the “unimportant” that requires activation of multiple senses… They are about tactile and slow “anachronistic” notations, that regardless of the ideas and concepts of the authors, at times act like aestheticisms of “some past and exhausted times, which perhaps have not occurred and that should occur.”

These artists in their videos deal with that residue/shortage/surplus that does not conquer, does not fascinate, does not dramatize and does not have pretensions, but allows a different “slowness” of reality and transience of things? A different reflection, which is neither nostalgic nor interpretative, but is different time-spatial approach versus the hysterical flow of time, which today more and more is exclusively connected to the concept of speed.

In this manner, these works allow us an opportunity for a different understanding of the visual space and of the things happening around us.

Dejan Bugjevac

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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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The Magic of Montmartre – Bitola 2013

Tomorrow (15 november), in the National gallery of Macedonia, object Mala stanica the exhibition “The Magic of Montmartre – Bitola 2013” will take place.

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The National Gallery of Macedonia, a national institution with over 60 years of experience in working towards preserving and promoting Macedonian fine art, encompasses within its activity and program an educational-didactic department, whose goal is to affirm and educate the youngest population in the sphere of art and culture. 

For this purpose, numerous events and exhibition of works by the youngest artists are organized throughout the year.  In the object “Mala Stanica” the exhibition “The Magic of Montmartre – Bitola 2013” will take place.  The festival “The Small Montmartre of Bitola”, in which the best schools will participate, the ones chosen by a professional international jury, takes place each year on the streets of Bitola, while the work of the youngest artists is displayed at the open space throughout the Old Bitola Bazaar. 

This world-renowned manifestation for children of pre-school and school age is an excellent opportunity to be presented before the Skopje audience. Bearing in mind the significance of this exhibition, it is our special honor and pleasure to present it under the slogan: “From the Children, For the Children”. 

 Halide Paloshi

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Urosh Djuric’s exhibition at Mala Stanica

Urosh Djuric appears in the world of art at the beginning of the 90s, a period of crucial changes in the geopolitical situations and developments in the eastern European hemisphere, a time of falling of the Iron curtain and the beginning of the so-called neoliberal transitional politics and processes, which, true to the ideology, create characteristic class orders.

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Populism and its interpretation, with its rules of success as an integral part of these processes, is one of the last ideologies of the 20th century and is also the field of action for Djuric’s artistic interpretation in the realization of his role in the structuring of today’s society.

This process of changes is the key factor to Djuric’s artistic decision where he re-evaluates the relation of artist-audience, the system of art-state, and introducing himself as a reference point in those processes, he re-evaluates the place of the artist in that operating system as an active participant in the micro and macro societal horizons of reality.

The various media of expression, such as painting, photography, installation, performance, are just a tool of visualization of the conceptual ideas of self-reflection, where the visual motif in the conceptual artistic discourse becomes a metalanguage or a visual text. The theoretical texts written by Stefan Vukovik and Urosh Djuric himself are important in the defining of his conceptual works, being the basis for the definition of his artistic opus.

The conceptual and post-conceptual art are auto-reflexive and based on the specific procedures in the creation of the work of art, the proto-theoretical contexts of performance and reception, the media analysis, the interpretation and deconstruction of popular culture, the functioning of political systems and practices in culture, art and society, and the analysis of the world or system of art as forms of cultural or societal politics where the artist, through presentation of first-person speech, promotes them as a general introspection. All these aspects are visible in Djuric’s work.

In 1994, together with Stevan Markuush, Urosh Djuric publishes the Manifest of autonomism, where they sublimate their ideas of artistic work. In the paintings from the cycle Autonomism, as stated by him, “the autonomous figuration is used ambiguously, much the same as Dishan uses the ready-made”. Thus, the presented figures (where we see Djuric, Phantom, Superman) originating from popular culture (comics, rock and punk movement), assume a visually-semantic textuality. The same insistence on a conceptual image occurs also in the following cycle Subjectless autonomism, where he uses Malevich’s figurative suprematism as a preposition.

At the end of the 90s, Djuric commences the Populist Project where he deepens the previous conceptual ideas in the defining of the interaction between the art system and the state, as well as the societal class orders, but also the system of celebrity, identity, where as before, his character appears in the role of a theoretical object. Populist Project is divided into several segments: God loves the dreams of Serbian artists, Celebrites, Hometown Boys and Pioneers.

One of the themes that permeate Djuric’s work is also the revision of historical facts (through documents of his personal archive and the existing archives from institutions responsible for them), and through the creation of provisionally personal history he actually speaks of the systemic dismissal of the historical facts and the lobotomization in modern society and its development (exhibitions The return of the dead painter with new problems, Red, 1 June and A short history of oblivion or don’t ask me anything and I’ll never lie to you).

Precisely this exhibition, as well, is a result of his previous research and activity in the field of art, adjusting to the societal currents in Macedonia. With the preparation and realization of the exhibition, his previous research in the direction of positioning the artist in the various segments of art and society opened new worldviews and questions to think about and act upon, which are characteristic for this climate. The features of various cultural-societal systems have their own local peculiarities, and this is one of the aspects of interest to Djuric. For this occasion, the memory of Macedonia dates back to the period of quondam Socialist Federal Republic of Yugoslavia, and continues to the current states.

Adding to the project God loves the dreams of Serbian artists and his obsession with football, for this occasion Urosh Djuric takes a photo with the first team of Vardar football club, a football club from Skopje that was the only Macedonian club in former SFRY to have won the Yugoslavian championship (1986/87). From this aspect, FC Vardar is a club with its own place in the socio-societal life in Macedonia, and with its own values. This project analyses the phenomenon of the ideological populist matrix, when several social and class categories in society are skipped, where footballers are identified as modern icons and testify to the universal American dream. But, there is another moment here, where Djuric implements also a systemic error – exception, i.e., an element of surprise effect – taking a photo with the first team of FC Vardar he is the twelfth “player”, thus breaking the established rule that a football team consists of eleven footballers, relativizing the borders between social norms and artistic concepts and posing the question of the ideological and semantic character in the determining of the relative and unstable relationship in the achievements in art, culture and society.

For the realization of the project Societal portraits – Appropriations, Djuric calls on public persons who represent synonyms of Macedonia in his memory. These persons can be grouped in public persons from different areas of societal activity who represented former SFRY and Macedonia at the same time, and persons related to Urosh Djuric’s private life. In the first group, from the field of sports, we have Ace Rusevski, Macedonian boxer who won the bronze at the Summer Olympics in 1976 in Montreal, and Darko Panchev, one of the greatest Macedonian footballers of all times, who won the UEFA Champions League (1991) with the football club Crvena Zvezda (Red Star), and Djuric is a fan of this football club. Esma Redzepova also appears in this project, known throughout the world as the queen of Roma music, as well as Garabet Tavitjan, member of the Macedonian ethno-jazz-rock band Leb i Sol (Bread and Salt), whose music made a strong impact on the musical trends in former SFRY and the Balkans. Upon the disintegration of this common state, Macedonia formed its own musical scene, and in Djuric’s memory we find ingrained the Macedonian pop singers Karolina Gocheva (who represented Macedonia twice at the Eurovision Song Contest) and Maja Vukichevik (whose performances are interwoven with an intriguing and provocative aesthetics). A part of this memory is Ljubomir Frchkovski as well, prevalent in the political scene in Macedonia, one of the experts involved in the preparations of the Constitution of RM (1992-96), Minister of Foreign Affairs of RM (1996-97) and candidate of the Social Democratic Union of Macedonia at the presidental elections in 2009. In the group of people from Djuric’s private life and memory we come accross persons with varios societal activity in Macedonia. The presence of artists Zhaneta Vangeli, Slavica Janeshlieva and Sasho Stanojkovik, as well as Violeta Simjanovska (musicologist), Jovan Shurbanovski (ethnologist and friend from the college years in Belgrade) and Zaharinka Bacheva Aleksoska (curator) is only logical since they are persons from the cultural-artistic sphere with whom he has established collaborations, but also friendly relationships. Paja Mihajlovski (businessman) is a childhood friend from the same (Mutapova) street in Belgrade. Thus, he creates his own section of people who (simultaneously) have been active in the societal processes, creating a kind of subjective portrait gallery of the Macedonian society. The chosen persons are asked to stand quietly for some time, alone in a room in front of a camera, and he represents through this process the other side of the persons, the character that is unknown to the public and media and is completely intimate. In fact, leaving them alone with themselves in front of the camera, Djuric touches into their alter-egos into the homo duplex of every person, where each of the persons, with their own thoughts unknown to the public, through their facial expressions and simple reactions, build and intimate auto-portrait, behind which is always the principle of uncovering the aesthetic and the intimate. This is the key moment in the unveiling of the personal identity and the attitude towards the societal system, i.e., the identity as a result of the complex system of identifications.

Gorancho Gjorgjievski

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Exhibition of Marija Svetieva (celebrating 25 years of artistic creativity)

At the very first meeting with art, our artist Marija Svetieva (celebrating 25 years of artistic creativity this year) does not look for recognition and does not offer a recollection. Her every move, whether deliberate or not, realizes the whole vision, and that, in turn, may be considered justified and possible, or to be experienced as a set of meta-figural forms.

marija svetieva treperi zemjata pod moite noze

In any case, it is a mastered skill for the painting techniques, and the courage and the anthological selection of sensitivity is a condition that creates the Faustian adventure, only personally and independently, without anyone’s mediation.

Her art is the experiencing of life through innocent associative presentations, micro-conditions, temporal and extra-temporal, so as all of it to become a rescue of the lasting from oblivion, i.e., to create a mildness that does not recognize loss and destruction. This means that such kind of art is created that captures us magically, an art that stirs us from within and builds hope. This is an open art of endless inventiveness, melodic palettes and humane messages, while the copious freedom captivates us with magical force in the game of the spirit.

Marija Svetieva creates a surreal world made of tangible data from the personal surroundings, at the same time mystifying the reality as far as entering the sphere of recognition of the artistic, for which the artist rejoices in the act of creation, surpassing at the same time the sense of loneliness and desolation, thus rightfully granting this work the epithet “healing”.

The works of this artist bring joy and revitalization, they charm us with the joy of life and harmony born of a story-teller of small-big things. We follow a lyrical catharsis, beauty of thought and its emotion. A precise gesture of the drawing, which is an extension and clarification of the content of the thought, i.e., the dream-story. A strong artistic and lyrical adventure, sensitive suggestions, visualization and poetics in conjuncture with the artistic gesture.

Ljupco Malenkov

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MARIJA SVETIEVA

Marija Svetieva MA in Fine Arts, was born in Skopje, in 1960. She graduated from the Faculty of Fine Arts, Graphics and Graphic Design in 1987. The same year she became a member of the Macedonian Painters Association. Obtaining a scholarship, in 1990 she specialized graphics in Bologna, Italy. In 1991, she become a member of the International Graphic Artists Association in Rome and the International Journalist Association in Rome. In the period 1992 – 1996, she managed the film production company Farfara Anstalt in Rome. She has visited many film centres in Europe, America and Africa and has written for the Czech film magazine Premiera, as well as for the Macedonian magazines: Zhena, Puls, Mlad Borec, Forum, Utrinski Vesnik, Horoskop and Portal. In 2000, she used the art studio of the International City of Arts in Paris. In 2004, she graduated from the Faculty of Education in Skopje, teaching department.

Address: Marija Svetieva
25/10 Atinska str.
1000 Skopje
Tel. No. ++389 (0) 70 234 713

INDIVIDUAL EXHIBITION

1988 Macedonian Museum, Skopje
Museum and Gallery, Bitola
A Gallery, Zagreb

1989 Cultural Center Belgrade
Art Gallery, Kumanovo
Cultural Center, Ohrid

1991 ARM Gallery, Skopje
Youth Center, Prishtina
Cultural Center, Pech
Art Gallery, Prizren

1992 International Graphic Center, Rome
Notagen Gallery, Rome
Slovenian Culture Center, Prague
Forum Hotel, Prague

1994 Due Rote Gallery, Vicenza
Cultural and Informative Center, Skopje

2000 Macedonian Painters Association, Skopje
D+ Gallery, Prague

2001 Nuova Tirena, Rome
Planet Calabria, Rome

2000 St. George, Struga

2001 Art Gallery, Prague

2002 Gilardoni Studio, Lugano

2002 For Macedonian love poetry, Cultural and Informative Center, Skopje
Macedonian Painters Association, Skopje

2003 J&T Gallery, Malmo
Una, Bajared

2007 Cultural and Informative Center, Skopje

2009 Li Café, Skopje Cultural and Informative Center, Skopje (with Simonida Filipova Kitanovska)

2010 Cultural and Informative Center, Skopje (with Andrijana Nachevska)

2010 MA work of art in the Macedonian Painters Association, Skopje
White Nights, Kora, Skopje

2011 University Gallery of Vranje, Serbia
European House of Nish, Serbia
GZM, Split, Croatia

2012 Prima Center, Berlin

GROUP EXHIBITIONS
In the period 1987 – 2012, Marija Svetieva has participated in 188 exhibitions throughout Macedonia, Serbia, Croatia, Bulgaria, Romania, Poland, Russia, Thailad, Japan, Germany, France, Italy, Sweden, etc.

PRIZES
She has won nine prizes for graphics and two for two paintings in Macedonia, Sweden, France, Italy.

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