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ISSN 1409-6900 | UDK 82+7     Blesok no. 55 | volume X | July-August, 2007



                     Peer-reviewed journal
Blesok no. 55July-August, 2007
Gallery Reviews

Towards Aneta Božinova’s sculpture exposition

Skopje City Museum, May 2007

p. 1
Violeta Elizabeta Krstić

Entering in Božinova’s opus dedicated to the Dance we breathe the aura of the drift. We penetrate, absorb the story, seemingly simply in one breath. We dive into the fairy-tale, to the tempering of illusionism and taken by the first impression, we slowly discover the enigma. The magical light entraps our urge for the tactile and they remain miraculous and sacred in their expression, in their spontaneous devotion.

    Wrapped with the veil of appearance, we feel the rhythms, lines, the existence, the weight of the subtle and graciously elongated, slimmed, lucidly loosened, upheld to exalt somewhere far above the ephemeral, exalted, taken by an outburst of thrill towards the secular joys, somewhere thinly extorted, and somewhere expressively convulsed, wrapped, enfolded, torsoed, and somewhere baroquely flickered into abstract and arabesque rhythms. Božinova’s sculptures at the end limit bring us forward the illusion of the theatrical and the illusion of the stage experience. They call for a dance in our selves with our thought and devoted experience. Alone, or paired, ensembles, they are unstoppable, ungraspable, unrepeated in the rhythm, in the Moment, in the uniqueness and self-essence, in the gesture and in the expression, which announces and informs even at the most unexpected ratios of the light and dark game. Abstract and real at the same time they exist in the virtuality of the space and time, subtly materialized in correlation with the authentically recognizable spirit, manner and imprint. They recall on the timeless, abstract experience of the relativity of the materialization, and instantaneously they are suggestively defined in the articulation. They project most diverse interpretation and authentic and individual experience.

    In Božinova’s opus, the experience of the dance is a dispersion of a light emanation, distortion, not only of the form but of the time and space, stylization up to a dominant of the linear, a subtle apotheosis, illumination, a weak show play, an arabesque scherzo and a mocking fugue.

    Independently of being in the position of a pirouette, elevation, allongéas and contre-tanes, with arms elevated in gesture of kuron or a cat’s jump, saut de chat, pas pied, heightened on the fingers or in a running step-pas courant, the combining of the energetic spin and the dominant of the illusionism, stylized in linearly-rhythmic organized wholes is evident.

    The space is aerie, with a veil of a contemplatively mystified atmosphere where the archaic beginning and the ancient, together with the conceiving of magic, cult,

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