NEWS/PRESS

/////////////////////////////////////// 2017

/////////////////////////////////////// Participation in a magazine

Linx

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Transnational Embodied Body ‘Edge Habitants’

Essay by Basia Sliwinska for Third text

Abstract: The author discusses the concept of denizenship and the different articulations of embodied transnational belonging, exploring projects by Joanna Rajkowska and Nada Prlja. Through metaphors of an ecotone and edge habitat, facilitating exchange within and between communities, she examines spaces across and in-between in which national identifications of individuals in Europe are deconstructed. The article discusses transition (through Rajkowska’s artistic practice) and tension (through Prlja’s artistic practice) zones, drawing upon Jacques Derrida’s discourse on hospitality, in order to seek for alternative modes of thinking about citizenship. These are based on generosity, friendship, hospitality and acknowledge locatedness of individuals and the space in-between – being here and there, at home and not at home.

Rajkowska and Prlja’s projects offer fresh and innovative articulations of cosmopolitan and hospitable spaces, which enable communities based on identification with others.

 

/////////////////////////////////////// Participation in a book

 

Visual Art in Macedonia – 20th Century Multimedia Art

 

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Participation in a book by Sonia Abadzieva, art historian: ‘Visual Arts in Macedonia – XX century / Book 2.: Multimedia Art’ 
Cover image by Simon Uzunovski, Prespa, 1976
plywood, plastic bags, water, scotch tape, 90 x 200 cm.

Author: Abadzieva Sonia
Publisher: OSTEN Skopje

This book intends to focus on a strict selection of artists that were active in visual arts during the 20th century, i.e., artists that marked the genesis, evolution, and rise of visual art practice that changed the codes of conventional disciplines in this field of creation.

Emphasis is placed on presenting those artists who were assertively innovative and more exposed at exhibitions organised in the country and abroad, as arguments equally for their activity and importance. In considering them, a flexible manner is employed in treating the borders among such areas as painting, sculpture, and/or graphic art; articulation is also given to involvement in an interdisciplinary context; when I say this, I mean presentations of the very concepts or ideas as art entities, incorporation of environment (exterior or interior) in artwork, some new technologies, dance/dancing, underlined use of non-art materials, etc.

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The second book in this series, entitled ‘Media Art’, focuses on 42 artists (born between 1936 and 1974):
Liljana Gjuzelova | Dusan Percinkov | Nikola Fidanoski and Simon Semov | Violeta Blazevska and Bogdan Grabuloski | Olga Milic | Simon Uzunovski | Dragoljub Bezan and Milos Kodzoman | Dragan Petkovic | Mice Jankulovski | Venko Cvetkov | Gligor Stefanov | Elizabeta Avramovska – Beti | Petre Nikoloski | Milčo Mančevski | Stanko Pavleski | Ismet Ramicevic | Robert Gligorov | Zlatko Trajkovski | Vana Urosevic | Jovan Sumkovski | Zaneta Vangeli | Antoni Maznevski | Igor Toshevski | Iskra Dimitrova | Simonida Filipova Kitanovska | Mirna Arsovska | Violeta Capovska | Robert Jankuloski | Irena Paskali | Ljupka Deleva | Elpida Hadzi-Vasileva | Nada Prlja | Oliver Musovic | Monika Moteska | Ana Stojkovic | Igor Sekovski | Slavica Janeslieva | Vesna Stefanovska | Hristina Ivanoska

Prlja’s work presented in the book:

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https://www.facebook.com/events/209716876258036/

Press coverage:

MKD.MK

Info.mk

 

////////////////////////////////////////////////////// Participation in a group exhibition

Remastered – Die Kunst der Aneignung

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Without the art of others, one’s own art is inconceivable, because art always develops in conscious or unconscious reference to already existing works. But what happens

when a reference becomes an appropriation? When artists incorporate works by overpainting or extinguishing, or by symbolically reinterpreting, updating, or translating from the media, they lay hands on the work of others? A comprehensive group exhibition is devoted to this art of appropriation.

The exhibition focuses on those works that are based on the symbolic or physical appropriation of another work of art. This may seem superficially anachronistic as we live in a time of media iconoclasm that levels all visual material to the same level of meaning. But especially in view of the almost limitless possibilities, the appropriation of works of art and thus of a comparatively small and still very charged segment of image production raises exciting questions that do not arise with regard to the integration of art-foreign material. Like a burning glass, it allows a condensed view of the various aspects of appropriation, thus providing eloquent as well as enlightening comments on the art field and its reference systems. In a compilation of historical works of Appropriation Art, current positions and works not yet seen in this aspect, the art of appropriation is illuminated in its unique complexity. An interpretive categorization of appropriation strategies, for instance as homages or persiflage, is deliberately avoided, as this would limit the potential space of association of each individual work. Instead, the moment underlying each specific appropriation moves to the foreground of the decision to make a work, and thus the affection of this work. An interpretive categorization of appropriation strategies, for instance as homages or persiflage, is deliberately avoided, as this would limit the potential space of association of each individual work. Instead, the moment underlying each specific appropriation moves to the foreground of the decision to make a work, and thus the affection of this work. An interpretive categorization of appropriation strategies, for instance as homages or persiflage, is deliberately avoided, as this would limit the potential space of association of each individual work. Instead, the moment underlying each specific appropriation moves to the foreground of the decision to make a work, and thus the affection of this work.

In the exhibition are works by Enrico Baj, John Baldessari, Anca Benera and Arnold Estefan, Pierre Bismuth, Jake & Dinos Chapman, Mel Chin & GALA Committee, Gintaras Did ž iapetris, Braco Dimitrijevic, Marcel Duchamp, Simon Dybbroe Møller, Luigi Ghirri, Rodney Graham, GRAM, Aneta Grzeszykowska, Herbert Hinteregger, William E. Jones, Asger Jorn, Martin Kippenberger, Matthias Klos & Christian Wallner, Bertrand Lavier, Louise Lawler, Sherrie Levine, Kazimir Malevitch, Man Ray, Jonathan Monk, Klaus Mosettig, Ciprian Mureşan, Richard Pettibone, Lisl Ponger, Nada Prlja, Arnulf Rainer, Thomas Ruff, Misha Stroj, Sturtevant, Rosemarie Trockel, Gavin Turk and Martin Wöhrl.

Curator: Verena Gamper

Buy the catalogue – in UK

See the video of the opening

Link to the website

Press coverage

MUSSE MAGAZINE

MICHAELA MOTTINGER

KURIER Michael Huber

DIE PRESSE 

 

/////////////////////////////////////// 2016

////////////////////////////////////// Participation in a group exhibition

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In serach for common ground 2, MKC, Skopje.

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In search for common ground, MKC, Skopje

 

 

 

 

screen-shot-2017-01-29-at-11-30-19In Search for Common Ground, MKC, Skopje – Daily MKD

////////////////////////////////////////////////////// Participation in a group exhibition

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In search for common ground, Baku. – COOLTURA

////////////////////////////////////////////////////// Participation in a group exhibition

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In search for common Ground, Baku – MAKFAX

 

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In search for common ground, Baku. – PORTA 3

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2015

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2014

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