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ISSN 1409-6900 | UDK 82+7     Blesok no. 41 | volume VIII | March-April, 2005



                     Peer-reviewed journal
Blesok no. 41March-April, 2005
Gallery Reviews

Obsession with Painting Ontology

Dragan Petković (1952-2004)

p. 1
Sonja Abadžieva

    One of the most loyal followers of the abstract discourse in the Macedonian art is Dragan Petković. With his recent tragic death, Macedonia has lost the most consequent transmitter of the phenomenological research of painting.
    Dragan Petković was born in Skopje in 1952. His German discipline of spirit and action, his wish to recreate the chaos in an order and system might have resulted from the Academy of Fine Arts in Ljubljana where he graduated in 1977. He had independent exhibitions in the Club of Journalists in Skopje (1981), then at the Youth Cultural Centre (1983), at the Belgrade Student Cultural Centre gallery, together with Blagoja Manevski and Jovan Šumkovski (1988), and finally, he presented himself in s small monographic-retrospective exhibition at the Museum of Contemporary Arts in Skopje (1988). In Zagreb, Belgrade and Skopje (1985-1986), Petković was one of the six participants of the exhibition “From the Miracles of Meadows to the Joy of Living”. The critiques of Zagreb and Belgrade who evaluated this exhibition quite objectively stimulated the euphoric dimension of their creative energy. Dragan Petković, along with the other participants at this exhibition (Simon Šemov, Aneta Svetieva, Dimitar Manev, Gligor Stefanov, Petre Nikoloski) was part of the generation that most explicitly opened itself towards the art spaces of the other republics of former Yugoslavia and paved the way of the new status of the new Macedonian art in the former Federation. The new evaluation of these authors with fresh ideas and new discourse was very stimulating for all of them, but Dragan Petković permanently lived in the memory of this, border than the narrow Macedonian cultural aerial, recognition of their special creative potential. Petković then exhibited at important, strictly selective exhibitions in Rieka, Sarajevo, Zagreb, Skopje, Ljubljana, he was part of the anthological exhibition at MCA in 1994, at the “9½: New Macedonian Art” (1995) exhibition and the study exhibition “Transformations of Macedonian Painting”, also at MCA (2000).

    Dragan Petković appeared in the art sphere of Macedonia at the end of the 70-es, in a climate tired of the domination of one direction, while at the same time curios in awakening of the authenticity of the art thought through research of its own internal areas. In the spiritual worlds of the young generation of this period, it is visible that there is a changed behavior with respect to the world art empire. As a member of authors oriented like

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