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ISSN 1409-6900 | UDK 82+7     Blesok no. 52 | volume X | January-February, 2007



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                     Peer-reviewed journal
Blesok no. 52January-February, 2007
Gallery Reviews

Ideologeme and Fascination

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p. 1
Goce Smilevski

    The narration that results from the visual representation, the incredible skill to paint in any style, the powerful political aspects that transform into a sort of ontological worldview, the skill to travesty a political myth such as Hitler into a pop myth such as Mickey Mouse, the local allusions to one of the most iconic paintings of the West such as the Last Supper, the ambivalent flirting between the manneristic and the classical…, caused a fascination and awe in this visitor (and surely not only in him) to the retrospective exhibition of Aleksandar Stankovski in 1997.
    

    Today, nine years later, that same visitor, who is now also the author of this text that should be a small introduction to the big exhibition of Aleksandar Stankovski in the Macedonian Academy of Sciences and Arts, is faced with the same, of the same intensity and of the same kind, fascination by the work, by the fifty or so paintings that should be exhibited.
    

    It seems that Stankovski's painting continues to tell the story of painting that is possible today only if it keeps shifting its recipient. In Stankovski, the various positions of reading – and reading always symbolizes power, at the same time a desire for power via creating meanings – always signify an attempt to decentralize the viewer.
    

    The narrative, the story, so favoured in his method of painting, above all point to a movement and diffusiveness. In order to read his paintings, you always have to give up one of the points that made it possible to enter the painting, to shift the subject, to move it somewhere between the formerly existing visual model (for Stankovski is obsessed with the idea of painting as painting-over/re-painting of already existing painting models, artifacts, methods) and the ideological strategies that always turn the painting into a space for inscribing the centripetal and centrifugal forces of power.
    

    Ideology – politics – power, this is the holy trinity that, simultaneously repelling and attracting, forces Stankovski to inscribe his own ideologeme, which is: to be as diffuse and polidiscursive as possible, and to relativize the unreachable borders of power by a travesty of the socially historical, politically manipulative, emotionally psychological stories.
    This is again the context in which I read the paintings from this exhibition of Stankovski's.
    

    In them, from a romanticist approach and figurativeness, through expressionism to abstraction, Stankovski focuses on the subject that in a wider sense could be interpreted






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