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ISSN 1409-6900 | UDK 82+7     Blesok no. 16 | volume III | August-September, 2000



                     Peer-reviewed journal
Blesok no. 16August-September, 2000
Gallery Reviews

Stefan Manevski


p. 1
Sonja Abadžieva


    The complex of retrospective presentations of Macedonian sculptors, as part of the strategic orientations of the Museum of Contemporary Art in Skopje, also includes the monographic exhibition of the artist Stefan Manevski.
    Contrary to his predecessors of the oldest and of the older generations of sculptors, this artist, during his intermediate and most productive period (when practically he expresses his position as an author), elaborates an inverse view of the sculpture – the effect is not from the flatness of the painting to the sculpture, rather the other way around, from the volume to the two dimensions and color. Such inversion seems to establish a recapitulation of connecting the Neolithic verticals, votive Hittite figures, the Macedonian folkloristic features – from the past with the stick-like sculptures of Pablo Picasso and Alberto Giacometti, the reliefs of Jean Arp and Zoltan Kemeny, the boxes of Louise Nevelson – of the 20th century. The integration of civilization periods necessarily refers to a merge of different artistic writings and semantic structures. The continued expansion of this line of connecting periods, discourses and meanings is also seen in the will for a synthesis of art disciplines: sculpture, relief, paining, object, graphic, drawing, for the possible artistic existence of the mixture. Such striving for uniting is explicitly read in the creative opus of Manevski, regardless of the fact whether it is seen separately in his sculptures, relief, drawings and graphics or integrally as an art credo.

    Ultimately, the passion of collecting art facts from the global art history and their renewed “attachment” through the assemblage-collage procedure is a creative reflection of the traumatic mood of our time, of general existential crisis, especially articulated after the war and present till today. The striving for realization of a synthesis of past and present remnants into a new whole, is not reference to Wagner's dreams of the total artistic work, rather a simple desire for the holistic model, disabled, in continuum, by the unavoidable caprices of the deconstructionist spirit of the time.
    The structure of the retrospective exhibition of Manevski applies the monographic model of selective elaboration of the material, taking into account to underline the most argumentative layer of synthetic procedures, responsible for the individual essence of this opus. Accordingly, the matrix of my text is also strengthened, above all, on the artistic achievement of this author in the 1964-1984 period.

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