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ISSN 1409-6900 | UDK 82+7     Blesok no. 65 | volume XII | March-April, 2009



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                     Peer-reviewed journal
Blesok no. 65March-April, 2009
Gallery Reviews

Sketches for Sketches

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Sašo Popovski / Ivan Džeparoski

(S.P.) How to draw a self-portrait? If you have lost your image?
    How to paint emptiness? Abstractly? When it is so real?
    How to paint nudity? When nudity is merely a bone?
    Is the loneliness a landscape, and the brush a straw in the whirls of pain?

(I.Dž.) How do you write an auto-biography? When you are not the same any more? Is the first auto-biography ever written, St. Augustine’s “Confessions” of the 4th century A.D., a psychological self-analysis of the previous life of a non-believer turned believer? And could we say the same thing about “the self-portrait”, “the emptiness”, “the act”, and “the landscape” as St. Augustine did about the “time” in his “Confessions”: “I know very well what time is, if nobody asks me; but when somebody does, and I try to explain, then I am confused”.

(S.P.) Shadows glow in the darkness.

(I.Dž.) Nietzsche’s Zarathustra comes out at noon, when there are no shadows and everything is clear! But, if he came out at night, would his shadow glow in the darkness?

(S.P) It is best to freeze the emotion at the very beginning of creating the canvas, not to narrate it there. Danger of being illustrative!

(I.Dž.) Fake exposure of emotions in a creation, in a work of art, is the same as giving away emotions on All Souls’ Day. And the food there is always cold and it never tells anything about the living, but it is there only for the dead. Frozen food from the deep freezer, cold art from a cold illustrator! Kalte Kunst has always existed.

(S.P.) At the end you become part of the landscape.

(I.Dž.) “Death will come and it shall have your eyes”, Césare Pavesse wrote.

(S.P.) I’m preparing an exhibition. Currently, the colors of my paintings are being translated in several languages, for a catalogue. A little afraid of critics who can’t distinguish terracotta from an unwashed person!

(I.Dž.) “The artist is a sultan who bathes with the most beautiful woman from his harem”, says Théophile Gautier, and then adds: “and a critic is a eunuch who stands besides them and observes what his master does with the beautiful woman”. But, this is not all. Oscar Wilde enhances the lasciviousness of the comparison in intention to partially defend those who don’t distinguish “terracotta from an unwashed person”, and says that a critic should not be compared fully with a eunuch, since he is a “person who






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