Blesok no. 55, July-August, 2007
Gallery Reviews


Towards Aneta Božinova’s sculpture exposition
Skopje City Museum, May 2007

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, rituals and the rhythmic of unspoiled to the conceptual and abstract experience are being announced.

    With an interpolation of sequences from the archaic rituals, worships and cults, magically mystical, metaphorical, sometimes instantaneous and pagan, secular and sacral, orgiastically euphoric, stylized, arabesque, both abstract and real, part of an amazing virtual concept which awakens metaphysical and contemplative ratios.

    The monochromic, the dualism of the black and white with an punctuation of red pigments which accent the sensibility and articulate the tendency of the artistic opus that interprets the tradition, the richness of the folklore of the Macedonian region that exists in multicultural societies and its surroundings, but even further, outside of these parts.

    The trails of the ardent flame the motion. The latent impulse and arabesque-erotic sensibility in the arabesque movements sounds Martinovski. The impulse of red pulsing in the week, latent, but newer the less eruptive charge which is seemingly entrapped in the structure of the form is freed in the atmosphere with an outburst of unrestrained motion.

    They point to the over-crossing of the thin limit between Life, Love and death. They point to the apparent weakness and in the same time to the inside compulsive-eruptive energy. They are instantly a burst of power, strength, energy, acrobatic and virtuous élan of passion.

    The unexpected interpolation of all ratios awakens different suggestions and interpretations. The space is virtual, metaphysical, free in the limitedness, imaginary, both real and abstract, perforated, somewhere seemingly closed. The circle is that of perpetuum mobile.

    Appealingly loosely localized in space they flicker, weightless and almost bodiless. As a subtle compilation between the appearance of reality and the reality of the virtual. Inserted by an unknown and undefined scene, by Life, with all graciousness and subtleness in the gesture, in the contraposte, in their suggestiveness and familiarity they complex and inflame the imagination and allusion as sequences of ballet pas de-de or segments of the wedding and euphoric flickered Teškoto, in the spirit of the Macedonian tradition. Yet the urge of the author does not stop, it goes further, bringing us the inspirations from the Dubrovnik, Spanish, English and French cultures and traditions. In the euphoria and exalt they merge. They simply call and evoke the conceiving, the essential urge, and explicitly accent the utilitarian dimension of the dance, essential in the existence of the cultures and entities of all regions, point out to the genesis of the archaic, the constant continuity, to the all-comprising deeply embodied code and necessity.

    The dance is always a rebirth and a new awakening of the sunrises in us. The dance is the speech of muses. It is a call of the Gods, exalted echo of the church bells. It is a silver show play of moonlight. A trembling of the star shine. It is a feathery touch of a butterfly’s wings. The dance is dreaming. Aria of the moon. And adagio in all of us. The sound of the spring-flows. The dance is a gallop of passion. An abyss of pain. The weak touch of the tear. The scream of suffering. The light extinguishing in us. Fantasizing and daydreaming. The dance is a prayer. Longing, hope and waiting. Agony. And somnambular wandering. A touch of the divine in us. Apotheoses of all the senses. Enchanting touch of the heavenly heights. Illumination of the Spirit. And a untouchable tremble of the Silence. The Dance is the last farewell prayer. The Dance is the tear of wish. Gorge of the sunrises. The Dream of the faeries. Lasoure shivering with an aura of the cherubim and seraphim. And an enchanting joyfulness of the wedding feasters. The slow passing of the Teškoto with the weight of the zurli. The dance is a sigh. It begins with the first touch of the womb. The dance is in the cosmos, in space and in the universe. In the Big-bang. In the game of all the particles.

    The dance is a streaming tremor and a Whirl, Exalt, Trance and Thrill, the enloving, a drift, an exclamation. A sigh. Rhythm of the life. An incarnate of the light.

    The dance is movement. The movement is life. In every moment unique and unrepeated. Incarnate of the being. Impulse of the conscious and unconscious. It is the mute simultaneous speech from the deepest layers of sub –consciousness. Impulse of the thought, but also of the urge. Those are punctuations of the intuitive and instinctive. Of the apparent and unapparent. Of the extra-sensible. The forms, colors, lights and shadows dance, the flickering shroud dances, the thought and the spirit dance in the aura of escaping flosculae of the transcendental.

Translated into English by Stanko S. Krstić




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