Exhibitions

Certain contemporary artistic approaches and practices, especially those in which echoes of high modernism can be discerned, are sometimes described in terms of transcendental illustrations of “repressed meaning”. Such use of the notion of the unconscious in the field of the visual arts may also be seen as controversial, raising questions of what is concealed and allowing interpretive pirouettes and theories revolving around the sublime and the abstract.

Viktor Bernik’s creative output is endowed with two distinctive features: referencing social reality and the use of various formal solutions. Bernik takes on contemporary society with playfulness and humour, shifting back and forth between the fields of painting and those of drawing, video, graphics as well as spatial installation, intervention and events.

Bojan Fajfrić’s exhibition The Void conveys a specific manner of viewing history by conflating personal memories, collective historical consciousness and the inevitable events, while the use of non-linear timeline in his videos and films often turns them into speculative history.

Robertina Šebjanič engages in investigating living systems (bio art) and sound. Taking on the form of interactive installations on exhibition grounds, her research-based art projects primarily focus on cultural, political, and biological realities of both marine and freshwater ecosystems.

Wayside (A performance yet to happen) is the newest tandem project by Calovsky and Ivanoska, envisioning hypothetical exhibition programme for the unrealised Museum of Modern Art in Skopje, designed by polish architect Oskar Hansen in 1966.

There is something tenacious about the fragility with which Natalija Vujošević communicates her thoughts and emotions–insights and affects–in her referential installations. This determination is provoked by the hardly bearable mission she is conducting, and she conducts it on her own terms: the mission to contemplate banality. Instead of exposing, appropriating or laughing at banality she aims to actually and urgently contemplate it from a rather melancholic, yet critical, attitude. As Benjamin argued, it is in fact the state of ruin that materialistically exposes this remarkable conceptual combination of melancholia and critical vigour.