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ISSN 1409-6900 | UDK 82+7     Blesok no. 60 | volume XI | May-June, 2008



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                     Peer-reviewed journal
Blesok no. 60May-June, 2008
Gallery Reviews

Creating “vivification” through technical perfection

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Ana Frangovska

In today's isolated world, where the sterility of contemporary digitalized communication leads to alienation, only metaphysics and artistic creativity create sub-worlds (using our world's model) of “communication” and “interbreeding” on different levels. In it exist certain new humanoid-anthropomorphic shapes and forms, which they themselves, comprise of a sterile readymade of this world – the curvilinear, whose long-forgotten functionality acquires a completely new role: a giver of “new life”.
    

    Such is the newest micro-world, the newest works of the author Antoni Maznevski. They, in fact, represent a continuation of a pre-displayed cycle of drawings (in “Mala galerija”, Skopje) of the same idea and concept. However, in Toni's last several works, he not only uses the line, but also the specific form of that plastic matrix – the curvilinear (a liner previously used for technical drawing) whose interweaving, interbreeding, multiplication, modification, impastation, and substitution create compelling amorphous associations resembling humanoid shapes, usually bisexual, i.e. they themselves constitute both the male and female principle, so they can themselves, from different aspects, answer the question of “Interbreeding”.
    

    These group or individual spatial beings, due to their cyclic repetitiveness leave the impression of rhythmic spatial arabesques and decorative-geometric stylization, however the narration they carry themselves, the philosophy and manner of processing create a homogenous cosmogony, which in itself, in terms of a biological dictionary, would consist of numerous biogenic, smallest albuminous vivifying particles, which are a part of every living organism.
    The Eros is also an important aspect in the poesy of Maznevski's works, and despite the previously mentioned fact of connecting the male and female element, the erectile or phallus shape also dominates in the “supremacy” of the works themselves.
    

    The line, besides shape, form and color, is the leading structural art guide, which creates, announces movement, and even gives associations to new possible future variations of the already given topic. Space itself is animated, i.e. certain objects are preinstalled – free sculptures, however, the ambience or chamber arrangement offer a studious esthetic esotery.
    

    The final aspect, which needs to be taken into account, is the use of materials and the perfection which Maznevski masters when creating his works. The materiality of the works represented in this exhibition is predominantly plastic, synthetic, and artificial – alluding to modern technologies and inventions, as well as the negative effects of their use (although the use of natural and easy-to-recycle materials has become a worldwide trend). Nevertheless, he masters material to






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