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ISSN 1409-6900 | UDK 82+7     Blesok no. 60 | volume XI | May-June, 2008



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                     Peer-reviewed journal
Blesok no. 60May-June, 2008
Gallery Reviews

The Public on Step-brotherly St. (without a house number)

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Stanko Pavleski

With The Public on Step-brotherly St. (without a house number), I am closing my production which was exploring the relations about the art-work and the creativity. Actually, The Public on Step-brotherly St. (without a house number) is a metaphor of what’s relational and of situation resulting from it.
    

    The Public on Step-brotherly St. (without a house number) unites several projects of mine (2005-2007) that did not receive the necessary public attention (so that I could calmly put a closure on all this …). And for the following reasons: partly because it is to do with site-specific projects, away from the exhibition format; next, there are some project that were executed and on display outside of Skopje (the Metropolis); some of the projects were not exhibited in Macedonia at all, while few had appeared in the magazines (a public medium but not enough for the artistic intent); finally, all these projects deserve to be seen anew, because the artistic production is insufficiently monitored and critically assessed.
    

    In these projects I question and I tease with the circumstances of the art-work and the creation, as well as with the subjects of that circumstantial practice – the subjects that are caught in the zone of interests, dependences and provisos. The Public on Step-brotherly St. (without a house number) stands for a location – a seat of alliances over the philosophy of that which is necessary. This necessity is a dimension of my interest – a point of intersection for the author and the institutions, for the author and the art critique, for the authors themselves, for the author and the artistic reality, for the author and the creative ambiance, for the author and the relativisms and for other situations similar to these.
    

    In the projects I deal with the wish/wishing for. I wish to tame the vanity. I wish for more will for freedom. I wish for professionalism, and I wish for many of that which I/we are in a need of.
    

    I wish there were writings on art, at least as much as there is some art produced: because of the interpretation and mediation, because of the detained piece of time and because of the contribution made to the survival of what’s most personal creation; because of ourselves (and of those men of pen), striving to outlast with integrity the writings of our times – that ugly relativism of the values. In our parts, the






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