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ISSN 1409-6900 | UDK 82+7     Blesok no. 92 | volume XVI | September-October, 2013



                     Peer-reviewed journal
Blesok no. 92September-October, 2013
Gallery Reviews

Soul Transplants

(On Filip Fidanovski’s exhibition “The Last Supper,” 21.10. 2013)

p. 1
Ana Martinoska

A round table, a table cloth, a set for a dozen guests. It is almost immaterial whether this scene reminds us of a diner tableau or that it staged as such in a gallery space, the artist’s concept – based on commonplace objects, in this case a set of decorative plates – does not change in its essence. Consciously playing with the otherwise thin line separating art from design, Filip Fidanovski acknowledges the dilemmas surrounding visual provocations when faced with the art of portraying people from his immediacy, or the motivation for placing the ceramic-creative processes in a kind of equilibrium with their other, more utilitarian function, while lastly attempting to beget something fresh, something different, though hidden behind a monochromatic aesthetics, as it reveals multiplied messages and ideas that can easily articulate a way to communicate, emotionally, with the audience.

At a first glance: a work quite intimate, seriously personal, taking into account the choice for depicted characters adorning the objects – friends and family, including also a self-portrait. This in turn is strengthened by the immediate association that comes to mind – the ritual of breaking bread, i.e., the symbolism of sitting side by side on a shared dining table, one that despite the guaranteed pleasure that comes for the body and the senses through the acts of food serving and consumption offers a kind of communion for the soul, in a special shared moment of intimacy. As in Plato’s Feast, each participant in this dinner-hour conversation enriches the staged festivities by offering his or her own speech on love, Eros and beauty, henceforth each of Fidanovski’s little dinner chats with his loved ones, remains preserved by these artistically spiced plates as certain mementos for the portrayed person, accompanied by the emotional bond stemming from the lived moment of intimacy.

This intimate story is at once omnipresent and pronouncedly universal, thus at the core of Fidanovski’s most recent addition to his opus, we discover numerous recurrent metaphors, adding onto some of his previous pieces. Namely, the black-and-white ceramic tiles from the Time For exhibit also playfully displayed the artist’s friends and loved ones, as well as the symbolism of the number 12, primarily linked to numbers on a clock. The myth-religious associations also go along the lines of the number of months in a year or the signs of the zodiac, however, this time around, they

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