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ISSN 1409-6900 | UDK 82+7     Blesok no. 110 | volume  | October-November, 2016



                     Peer-reviewed journal
Blesok no. 110October-November, 2016
Gallery Reviews


p. 1
Vladimir Jančevski



    Skopje, June 11- July 22, 2016
    Translation in English: Tatjana Radomirovikj
    * Excerpts from the text published integrally (with notes) in the publication,
    Igor Toshevski: Between
(Skopje: TP Sandinista, 2016)
    Between the status quo and the permanent change
. Today it seems that the key word defining our contemporaneity is crisis: political, economic, refugee, identity, cultural. At the same time, in terms of global capitalism, and its tendency for an uninterrupted flow of capital in the extended field of culture, this statement appears tautological. Capitalism is defined as a non-systemic phenomenon, a steady stream of conflicts and contradictions, and culture is seen more as a field of constant struggle for the recognition of identity. The plastered layers of problematics relating to current conditions show a need for urgent and immediate attention to acknowledged neuralgic hotspots. We are witnessing the unstoppable process of disintegration of the social sphere, amid a gridlock in post-history. The fall of the Berlin Wall, and the digital revolution, did not come close to fulfilling the idyllic promises of the supposed ‘end of history’. However, the expansion of the techno-sphere, in its non-teleological progression, increasingly inclined towards corporate interests, seems to generate a further fear of the future. In a situation where the balance between the linear, consequential logic of text and the historical consciousness, on one hand, and the magical character of the image on the other, is seriously disturbed by the technically generated image, that very fear is logically manifested as a fear of the anti-political dominance of the empowered image without a referent. This constantly reminds us that, in this sense, we have never been modern. (…)
    Often in search for an unencumbered space, the artist seeks his autonomous position outside the institutional framework. It is also necessary to simultaneously re-examine the capacities for allocating new modes of establishing a critical museum whose purpose as the crucial mechanism of the ideological apparatus, would be to grasp contemporaneity, projecting a future through a dialectical relationship with the past. At a time when the reoccurrence of non-critical, manipulative meta-narratives is becoming more evident, and during the rise of radical populist nationalism and religious fanaticism when the past imposes itself as the ghost of the control mechanisms, it is necessary to re-examine our own position and potential for critical thinking, aiming towards a successful struggle for a more equal distribution

"Blesok" editions 01-93 are also available at CEEOL web site.

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