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ISSN 1409-6900 | UDK 82+7     Blesok no. 61-62 | volume XI | July-October, 2008



                     Peer-reviewed journal
Blesok no. 61-62July-October, 2008
Gallery Reviews

How the Man Was Created from Ohrid Trout

– An apocryphal tale –

p. 1
Slave Gjorgjo Dimoski

The Ohrid trout is a fish with endemic characteristics which significantly differs from the others according its anatomy, color and habits – possibilities that are enough to create a man, i.e. Miroslav Masin to create this orchestrated, visual Ohrid trout rhapsody. His latest paintings are uninterrupted game of visual parts while creating a compact wholeness and the wholeness of various parts which mutually upgrade with eroticized impulses. There is a secret phenomenon of the drive in them that belongs to the incorporeal, timeless – in order to change into that which is natural and which has got a form. The contextuality of the symbol of Ohrid trout is a mean of expression, a secret tie for a “new evolutive” conception that has elements of a myth or a tale. In them the emotional polyphony of the world “seen through the specific positions of the Ohrid trout can be felt, which awake and incite in the depths of the senses erotic feelings and desires so they suggest the idea Masin to use this title for his exhibition.

    These forms, positions and states of the Ohrid trout represent the eroticization as a pre-idea of the creation of all; on one painting the Ohrid trout combined with white beans and eggplants represents the principles of yin and yang, on the other one it transforms into a female sex organ with tender and thrilling movements and so on. The polyphonic characteristics of these paintings (and the manner of performing this exhibition, first of all the presence of the roe) go as far as with their position in the space to remind of the emanation of fertility and vitality but of the natural depths in the center of which is the emotional space too. In such surrounding (environment) the physical chain of the existence in the nature is not important, it is important to find (to design) ties – the incarnation of eternity, beingness and essence. For that eruptive creation drive the intervention of the natural givenness only is not enough, but it is the active turning the reality into a philosophical and tale like thinking nucleus. This nucleus can be conceived as a strong visual entireness, as a vision provoking vitality offering itself as an equal among all other possibilities in order to understand the seriousness, depth and essentiality of Masin’s painter question placed in this exhibition. Therefore we call on the primary impression

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