Поставката во галеријата на Центарот за современи уметности во 1999.
View of the installation at CIX Gallery (Skopje) in 1999.
Поставката во Музеј на современата уметност во Скопје, во склоп на Биеналето на млади во 2001 година.
View of the installation at Museum of Contemporary Art in Skopje, in 2001. When I won the Grand Prix at the Youth Biennial. CATALOGUE OF THE BIENNIAL pdf
The associative perception of clouds
as figures, astrology and the fictional nebomantija (the presumed
"reading" of the future by observation of clouds) are, in an unusual
way, interwoven and blended in Slavica Janešlieva`s most recent project. The
spectator of the installation is expected to interact indirectly, i. e. to
identify with the artist, to make an attempt at perceiving and recognising the
same figures and, at the same time, to consider the irrational methods of
predicting the future which are no part of the everyday life of the rationally
bred West-centric intellectual.
Fortunetelling, prediction and
prophecy are irrational, nebulous (nebula, ae: lat. cloud) methods and skills
placed in the margins of logocentric thinking as unworthy of Western man who
wishes to eliminate completely mysticism and belief in the supernatural from
his everyday reality and, consequently, all possibilities of predicting his own
future. Nevertheless, written material about various supernatural phenomena,
instructions on cardtelling, coffee grounds reading, astrology and the
constellations of the stars are constantly increasing; on almost all TV
channels there are programmes on these matters, while horoscopes in newspapers
and magazines have become unavoidable items. It appears that the interest in
inexplicable phenomena is being only declaratively suppressed and not
completely rejected.
The idea of the artist Slavica
Janešlieva is not generated, so much, from her personal interests in these
phenomena, but from her perception of the magnificent figures and forms of the
clouds in the sky, which sometimes even resemble "angels of the sky".
Besides by their beauty, she is fascinated by their figurative similarity to
some animal silhouettes in astronomy (Capricorn, Pisces, Pegasus...) the names
of certain constellations, which also have their significance in mythology,
astrology and prediction.
The Rorschach test in psychology as
well as the Gestalt theory of the principles of our perception are connected
with the assumption that our inclination to associativness probably is found in
the basis of mythology and astrology. This connecting of the unknown and the
unrecognisable with inherited knowledge which, already exists as information in
our memory, is a natural process that even in the most abstract modernist
paintings makes man recognise figures. That which should present only sublime
abstract representations of the unpresentable, human perception nevertheless
reduces to a visualisation within the framework of its experience.
Therefore Janešlieva makes use our
natural limitations and need for connecting what, at first sight, seem
unrecognisable figures with some recognisable contents. She invites her
spectators to a "seance" of reading the clouds (digitalized
photographs, printed on cloth, sewn as pillows which hang freely in the space
of the gallery, or the accelerated projection on the ceiling of clouds recorded
by video camera); she invites us to an unusual "flight" to the airy
spaces of the sky, regardless of whether we will manage to see or
"read" any event or phenomenon of the future.
Suzana
Milevska
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