“We are all in this alone”, “A (reconstructed) conversation, “The works and the space”. (original) (raw)
Related papers
2020
The Pavilion of Northern Macedonia was presented by Hristina Ivanoska and Yane Calovski and curated by Basak Senova at the 56th International Art Exhibition, La Biennale di Venezia in 2015. We are all in this alone by Hristina Ivanoska and Yane Calovski addresses the notion of faith in today's concurrent and multiple socio-political conditions. The We are all in this alone project is accompanied by a book, edited by Basak Senova. The book analyzes, reads and records the venture of the project with texts by the editor, Maja Nedelkoska Brzanova, Elke Krasny and Sebastian Cichocki, including a conversation between the artists and the curator. The contributions of Anne Barlow, Ksenija Cockova, Slavcho Dimitrov, Branko Franceschi, Omar Kholeif, Anders Kreuger, November Paynter, Anna-Kaisa Rastenberger, Dirk Teuber, Jalal Toufic and Eyal Wiezman embody different perspectives on faith and are accompanied by drawings from the artists. The book was designed by Erhan Muratoglu and publish...
An Ecology of Contemporary Art in Macedonia
This is a small extract from the forthcoming book Critical Art in Contemporary Macedonia, that is being published in late July by mala galerija, Skopje. The book features a long critical essay, and interviews with twenty three contemporary artists active in Macedonia and further afield, including Yane Calovski, Hristina Ivanoska, OPA, Igor Toshevski, Gjorgje Jovanovik, Ivana Vaseva and Jasna Koteska. Message me if you would like a review copy via email.
Transnational Social Review , 2015
It is in the relational space between the "private" and "public" of Macedonia's contemporaneity that this book is conceived. It convokes materiality, aesthetics, and consumption patterns as the bedrock on which this space is (re-)negotiated, (re-)constituted and (re-)presented. Proclaiming to be "grounded in the spread of aestheticized sense of ownership, wealth and style, the concrete spaces, along with the furniture and decorations of the interiors and exteriors," the book represents an attempt to uncover the politics of aesthetics as a magnifying glass for observing the interwoven relationships between ethno-nationalism, economics, space, gender, and conflict. Dimova sets out to describe and elucidate the rise of a specific aesthetic style, that of baroque (and its Macedonian transcription barok) as the style of choice of two distinct elites: an economic elite consisting of the ethnic Albanian nouveau riche who had become wealthy in the freshly neo-liberal post-1991 market economy; and an ethnic Macedonian political elite consisting of the nationalist political party VMRO-DPMNE (Internal Macedonian Revolutionary Organization-Democratic Party for Macedonian National Unity) post their parliamentary election victory in 2006. The domain of analysis pertaining to the first elite is that of the private sphere, and the choice of baroque aesthetics for decorating their homes in Kumanovo, a multi-ethnic city near Macedonia's border with Kosovo. The second domain of analysis focuses on the public sphere; it looks at the political elite's choice of baroque aesthetics for remodeling and embellishing public urban spaces in the capital city of Skopje. These two domains of analysis are elaborated within five brief chapters. Four of the chapters are dedicated to the first domain of analysis and the social dynamics relevant for the aesthetics of the private sphere. They rely on the author's long-term fieldwork conducted with families from Kumanovo, in the period between 1999 and 2006.
17. The Sculpture of Macedonia
Handbook of Greek Sculpture, 2019
The paper deals with the sculpture found in Macedonia from the earliest finds until the Augustan period. It is the latest up to date essay on this topic.