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ISSN 1409-6900 | UDK 82+7     Blesok no. 53 | volume X | March-April, 2007



                     Peer-reviewed journal
Blesok no. 53March-April, 2007
Gallery Reviews

Double Discursiveness of a Photo-essay

p. 1
Nebojša Vilić

    In the initial photography from the consecutive sequence of photographs taken by Vladimir Arsovski, it is shown a female nude holding golden frame and standing in front of black and white photo-background which also shows a female photo-model. By this the double discursiveness is being opened in this sequence of differently formatted six black-and-white and seventeen colour photographs. The paradigm of this photograph for the whole sequence is perceived in its two basic components.

    The first is the author’s- the subject of modelling/shaping procedure: framing and hesitating about the choice of the technique (colour or black-and-white), taking the both into consideration, it is the author’s approach towards his own formative experience and necessity. This conclusion emerges that is to say, derives from the presence of the golden frame in the hands of the female nude. That frame from one side, above all because of its golden colour, refers to moderation and defined proportionality of the antique golden essence, more particularly, the antique concept of perfection. The approaching towards balance of the shaping process during framing the reality (implicit representative aspect of the photographic medium)is anticipated from the image settled into the frame. But this “image in the frame” is being replaced by its expansion during which in the “frame of the photograph” (subjective, author’s extract from the reality) two more representative moments appear: the complete colour female nude and the other black-and-white photograph of the model from the photo-background. If this exceeding or expansion is put into comparison with the current photographic creativity in these regions, that could be interpreted as well as its own exceeding and expansion in the whole. In other words, in this photograph it is perceived the need for outgrowing of the discrete presence (mainly just indicated) of the female nude in the Macedonian photography in general. The following sequence of photographs only proves/confirms (by piling up, that is to say, by presence of large number of photographs in the photo-essay) the persistence in the author’s readiness to speak up for various aspects of the nude photographic art.

    But when it comes to author’s dilemma which technique to use, that is comprehended from the alternation of the coloured and black-and-white photographs in the sequence order of the photo-essay, which are indicated or suggested even in this initial photograph in the duality of coloured female nude and black-and-white model in the photo-background. On the other side there is another

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