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ISSN 1409-6900 | UDK 82+7     Blesok no. 103-104 | volume  | December, 2015



                     Peer-reviewed journal
Blesok no. 103-104December, 2015
Gallery Reviews

Document Child by Monika Moteska

p. 1
Valentino Dimitrovski


Document Child by Monika Moteska

The artistic practices are today irretrievably transformed into an endless and boundless, diffuse and decentralized universe of declarative, expressive and conceptual practices. Considerably long time has passed since the boundary and distinctive particularities between these practices and the other media and discursive structures have been disturbed within a global “Babylonian” culturological and civilization syndrome. Since the first modern, basically avant-garde breakthroughs, through the neo-avant-garde and conceptual movements of the 1960s, up to the post-modern dispersions, the artistic practices seem to have crossed the border of the “end of the art”, decomposed to the level that Danto has formulated as an essentially artistic: a discursive-conceptual field of declarative patterns. The aura of the autonomous medium and the authentic patterns are thus destructed and immersed into the deconstructive matrices of the declarative concepts which we still, in the traditional manner, refer to as “artistic”. But on the other hand, this reveals an endless and exciting field of playing with the artistic, with the accumulated culturological and civilization models, and with the syntactic and semantic contents of the reality and fiction, which reveals new dimensions of the artistic idiom and its expressive possibilities.
    Today this exciting planetary adventure is mostly carried out through the different use of the photographic medium, but now completely released of any autonomous and “authentic” pretensions. The virus of photographic manipulation and exploitation has been dominantly present in the current artistic practices of the artistic scene in Macedonia for a considerable time now, and the relevant declarative occurrences in the recent artistic life are almost completely infected with the visual, informational and conceptual possibilities of this medium.
    Monika Moteska
, as an artist dedicated to the cultivation of her own artistic idiom into a relevant and current pattern on the rather modest artistic scene here, is focused in many of her projects on the conceptual-narrative application of the photography when rendering her declarative artworks. Moteska applies the photography in different modalities, from a free use of others’ photographic models to self-referential photographic exposition, from unpretentious, documentary evidencing of certain conditions or reality artifacts to conceiving narrative strings. Her approach in the application of the medium is consciously led by the desire to model simple, yet concentrated narrative structures with a subtle formal and connotative capacity. This manner of sustaining of seemingly small and unpretentious photographic statements and stories proceeds from the tenderness and simplicity of

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