Четврто меѓународно биенале во мала графика - Тетово 2010

Четврто меѓународно биенале во мала графика - Тетово 2008

На 26 март 2008 година во Центарот за култура во Тетово беше отворена изложбата на мала графика - Четврто меѓународно биенале во мала графика - Тетово 2008.

Жирито ги додели следните награди:

• Grand Prix - Калојан Илиев - Бугарија
• прва награда - Зоран Јакимовски - Република Македонија
• втора награда - Вирај Наик - Индија
• трета награда - Маркос Варела - Бразил
• две откупни награди - Ивана Настеска и Нагиб Исмаили - Република Македонија
• Специјална награда на жирито освои Вилела Тера од Бразил

Изложбата ја отвори заменик министерот за култура во Владата на РМ Слободан Деспотоски.
За Биеналето пред тетовската публика зборуваше и Веле Цветановски - spiritus movens на биеналето. Според него ова биенале е веќе влезено во календарите на големите графички изложби во светот од овој вид (Краков).








Графики од изложбата...
За ова биенале пристигнаа1200 графики од 300 автори од 50 земји од целиот свет.















Публиката со голем интерес ги разгледуваше експонатите...








Велимир Цветановски и Александар Настески






Од подготовките...


Тетово - градот домаќин на Биеналето.

Fourth International Biennial of Mini Prints - Tetovo 2007

The launch of this associate with us, The Fourth International Mini-print Graphics 2007 - according to the tradition on doorsteps by the entrance to the Europen Union, we are meditating as a cosmopolite. The troubles in this regions are as same as they are in all countries. The culturals and traditions autochthonous, are endangered by the recently urbanized man who is looking for to reclaim the heritage.
New age named “The architecture of the new time” indeed is consequence from a mathematical function which doesn’t look after to the captured space.
Macedonia have had over four thousand archaeological area from: early neolith, classical, roman, up to late middle century.



How can we preserve them?

The battle against trading with antiques and ”businessmen” is the biggest problem of all countries from the third world. As it’s with ours. “The rich” always find the way how to get what do they want in. The past, present and the future are the one’s nations identity.
We are actively seeking for:
to work on popularization to the diversity of one another to one after the other, and with your graphics to send a massage for:

LET’S PROVIDE THE PROTECTION OF SMALL NATIONS’ CULTURAL HERITAGE!



Working regulations of the International Exhibition of Mini Prints “Tetovo – 2007”
1. Organizer “Museum of Tetovo Area” Tetovo, Art Gallery in the “Center of culture”
2. All the administrative and professional work at this exhibition will be done by the authorities of the museum, the Administrative and the Art committee
3. Every artist who do prints have the right to participate
4. Acceptable tehniques:
a) copper etching
b) wood carving
c) litography
d) combined
5. The work must not be bigger than 15x15 cm, and the paspartout not bigger then 20x20 cm (shape of the paper)
6. Each work must not be signed and backiside should be the sticker of the organized that is atached below
7. The work should be send by air -mail or personaly delivered to “Muzej na Tetovskiot kraj” ul. Radovan Conic br. 92, 1200 Tetovo, Republika Makedonija. If you have any queries do not hesitate to contact us on tel.no.: ++389 44 338 902; or fax.: ++ 389 44 338 902
8. Each artist should submit five prints
9. One of the prints (by your choise) will remain as property of museum
10. A Jury consisting of five professionals in the field of art will select the winning prints
11. Prizes of the exhibition are:
a) Grand Prix ( first prize)
b) Tree equall prizes and
c) Two prizes that will be purchased by the museum
12. Prizes will be purchased in USD
13. “Museum of Tetovo Area” will take the responsibility for any damage or loss that may occur from the moment they get the work
14. The works damaged during the transport will be examined by commission and a report will be send to the artist
15. Once the Exhibition is over, all the exhibition prints will be send back to each participating artist
16. The exhibition will not be held in case of exceptional circumstances
17. Participation in the exhibition implies the acceptance of the above conditions
18. The Organized will produce a cataloque that will be send to each participating artist
19. Exhibition opens December 04.2007 and close January 04.2008
20. “Museum of Tetovo area” reserves the right to reproduce and exhibit any work accepted for promotional or cultural purposes
21. Every work will send back to artist 90 days after the end od the exhibition
22. Last Day to send Your Graphics is November 15.2007

# Supported by Ministry of Culture of Republic of Macedonia and the Local Administration of Tetovo

This is the addres on which you show up your
sending works:
National Institution of Museum of Tetovo Area,
ul.Radovan Conic br. 92, 1200 Tetovo
Republic of Macedonia

Tel.: ++ 389 44 338 902
Fax.: ++ 389 44 338 902
E-mail: tetovo_muzej@yahoo.com

Third International Biennial of Mini Prints - Tetovo 2005

Third International Biennial of Mini Prints - Tetovo 2005 - Critique

HOMO ECOLOGICUS UNIVERSALIS

The sfumato-like, complexly collaged theme of the 3rd International Biennial of Small Prints emanates in a synchronic manner the dense entropic net of varied intertwining concepts. Although for his type of events the themes are not a decisive motive for the artists, nevertheless, we can state that at this year's Biennial (with 200 participants from 36 countries) in their works, the majority of them actualize and cover the theme suggested by the organizers.
However, it is possible to identify and distinguish the presence of the behaviourist principle in the work of almost all the authors as the fundamental thread that runs through and links the various themes and sub-themes of this extensive topic via a general or, sometimes, more reduced concept. The epicentre of all the defined or undefined themes and this is true of this concrete case is man or the manifestations of his ethical or aesthetical attitude to this environment and the world that surrounds him.
The majority of authors who present their work at this year's Biennial strive to speak to us, through their varied stylistic discourses and subtle humour and irony, about man's grotesque and self-destructive being. Man's nature and the nature of manifestations and relations related to him and his world is, without doubt, a great provocation for the artists. They recognize both themselves and their own attitude to the world through others. This means that speaking through others is always the peak of the narcissist, that is, self-referential observation, evaluation and re-evaluation.
Hence, in its long history, man's omnipotent being has always been either on a pedestal or at its bottom. He is God and Satan at the same time, an incarnation of both good and evil, the Maker's co-maker, a reflection of the Archfiend, causa sui and causa.. Sublime and trivial, greedy and insatiate, obsessed with dark powers of his destructive instincts, he has danced over the millennia on the edge of creation and destruction. In the achievements of his self-coreographed dance, we recognize the incessant suicidal dance in the rhythm of the triggero Russian roulette.
The metaphor of this horrifying dance, that is, its consequences are especially relevant today, in the era of computer technology, and is reflected in almost all areas of human activity, particularly in the sphere of the eco-system. The earthling permanently and ruthlessly snaps at himself and his/our only home for which we have no other alternative.
However, the prevention of global degradation of nature also involves the complete reparation of the spirit of the most powerful military and political elites on the planet. It is from them that the regeneration of nature and the generation of the global neo-humanist concept should begin, a concept which would be based on a new cultural revolution different from the previous ones. Such a neo-humanist cultural revolution does not involve only the ecology of the spirit of the inhabitants of the Earth, but also his active and permanent transformation, acceptance and solving of world ecological problems as his own.
The small prints of the authors presented at this Biennial, although deprived of real power, try to appeal once again to the conscience and awareness of the relevant political elites and remind them that its is about time they began the establishing of a new homo ecologicus universalis.

Koncha Pirkoska

Second International Biennial of Mini Prints - Tetovo 2003 - Organizers

Tetovo is situated at the crossroads of European culture and influences of the Orient. These Macedonian parts have been witnesses to the intermingling of many peoples and cultures. Since the Neolithic onwards, numerous finds have been speaking to us of an intensive life filled with a permanent struggle to create works of art.

The creative imagination, evidently enriched with the experience inherited from time, has resulted in rich and varied activity in the field of graphic art whose very first origins we find carved in the clay pottery form the Early Neolithic period excavated in Tumba Madžari, Govrlevo and Tumba Stenče.

The Tetovo Regional Museum has the honour of organizing for a second time an international event at which, once again, artists from all over the world will meet. This gathering is also an opportunity to get acquainted with various cultures; here, the artists will have a chance to present their achievements both as individuals and as representatives of their respective nations.

The 1st Biennial was organized at a time of armed conflict, when our city suddenly found itself amidst the storm of the Apocalypse. The organizers worked under very difficult circumstances, but they worked with ‘things of beauty’ and this is precisely what painting and drawing are. Our wish was to stand up against the mindlessness of “the wise”, but thought about the future of our country with deep pessimism. Rivers of refugees wandered aimlessly, leaving their hearths which had been turned into “ghost towns”. The thought that those belonging to the opposing sides in the conflict could live together appeared somewhat utopian. Cooperation was nowhere in sight. And yet, prudence prevailed and we are happy to be together again because it cannot be otherwise.

We believed in peace and this, naturally, gives us the right to feel pride. Our investment, although small, bore fruit.

More than 250 participants from 44 countries will participate in this, the 2nd Biennial, with over 1,200 prints. It is thrice the number of artists who participated in the 1st Biennial, a figure that testifies to our overall growth and enrichment.

We are aware that every creation depends on the gift and skill of the individual. Therefore, we welcome the achievements of the participants as a new step on the road to permanent improvement and conquest of new horizons. The works of art that have been created for this event are a unique living bridge for the establishment of dialogue between nations. At the same time, they are works of art created for the viewers and their spiritual catharsis.

I would like to wish a long and fruitful life to our Biennial that was born in “hard times”, and yet, on time. Those who love peace always walk on the path that leads to every corner of our planet.

Velimir Cvetanovski, Art Manager

Second International Biennial of Mini Prints - Tetovo 2003 - Critique

Koncha Pirkoska

The title of the 2nd Biennial of Small Prints held in Tetovo, Enter the City and Exit is, above all, a reference to a complex and interdisciplinary structured socio-cultural phenomenon which incorporates the spheres of politics, economy, psychology, ecology, etc.

Before we address -- only briefly -- this complex issue, we would like to focus on the history of the concept of polis, megapolis, or urbs.[1] It leads not only to the sphere of archaeology, but also to its archetypal structure recognized in the matrix of the mythological image of the labyrinth.

Through history, the concept of polis gradually developed into megapolis, the term used today for cities with millions of inhabitants. We can continue identifying these modern cities with genuine city-states (this is what they have become) due to the size of their territory and population. The incidence of various urban problems that are generated in the anthropocentric sphere depends on the size of such cities.

We will now address the issues raised by the theme of the Biennial, Enter the City and Exit, in a more concrete manner. The noun city, a concept towards which the two verbs, enter and exit, gravitate, holds the central position. The absence of the subject -- the doer of the action -- in the syntactic order is replaced by the presence of the verbs. In the contextual order, they imply the presence of the subject, as well as its permanent flow into and out of the noun. The absent subject exists as a reason per se, a reason in and of itself; however, it also articulates and establishes the causative link between itself and the noun city. Perhaps the theme itself does not explicitly indicate the dense and invisible layers on the map of the cities that exist in reality. The superficial perception cannot recognize and exactly interpret the signs that are deeply impressed into the palimpsest structure of the city since each symbol of the script of the megapolis is polysemic, evasive and unreachable. Through a simulation of that which is always the Other, the symbols conceal their multi-valence and their multi-dimensional nature. Seduction and manipulation are their immanent feature. This seduction directs the subject towards the city’s blind alleys, pushing it into the labyrinths of its invisible but essentially present ideological context that directly stimulates the cannibalistic principle of megapolises.

The permanent fluctuation of the phenomenon immigration/migration, i.e., the inborn human nomadic syndrome or syndrome of territoriality, actualizes in its sub-context the simultaneous survival and deletion of the continuation of communication, and a generation of alienation or of an interior individual and collective exile. However, in this post-technological era, the problem of alienation, despite the global electronic communication, is diagnosed as one of the crucial urban diseases of modern man.

We experience the complex infrastructure and the permanent kinetic concept of the megapolis as a real, not an imaginary mythic labyrinth.

Each of the prints made by the two hundred selected artists from forty-four countries articulates, through its respective discourse, its own ode to or lamentation over urban life experienced in a variety of ways. These prints are imbued with different motifs. Some of the artists present the metaphysical silence of the desolate urban districts; others, in turn, display fragments of floral motifs and idyllic landscapes, while there also those who foresee the horrid sounds of a monumental danse macabre. The modern Theseus, suicidal and lost, is impotent before the cannibalistic Minotaur, he cannot set himself free from the incessant and merciless absorption and extinction. The absence of Ariadne’s thread in the present-day urban labyrinths is evident. Theseus himself has cut it off, just as he has cut off the umbilical cord that tied him to the earth. He has long stopped being a measure of all things and has become a slave to all things and all passions. He substituted the Roman columbaria for modern funerary dwellings called skyscrapers or solitaires, a French word for alone, lonely, desolate.

We would like to focus -- very briefly -- on the predominant issues, that is, on the issues addressed in most of the selected prints, in which they are articulated in a number of ways. They deal with the presence of the problem of human desolation, loneliness, isolation and alienation from the others and from oneself, since alienation from the others is, in fact, a subtle and quiet alienation from ourselves and from the essence of our being. The artists are exactly such beings, they are subtle and hyper-sensitive individuals, almost chthonic in their nature; with their instincts and intuition they record and experience all kinds of changes that take place in the context of city-states.

It seems that today, in time of peace, there is nothing more horrifying than the sight Baudriard saw on the streets of a megapolis such as New York. It was the hopeless picture of loneliness that dominates our daily lives and is projected onto them. The depression of humankind is manifested today through the image of “vast numbers of people who think alone, sing alone, eat alone and talk to themselves in the streets…But every kind of loneliness is unique. It is the loneliness of a man who prepares his meal in public, on a wall, on the hood of a car, next to a railing, alone. Here, you see it everywhere, it is the saddest sight in the world, sadder than misery; the man who eats alone before the eyes of others is sadder than a beggar. There is nothing more paradoxical than the difference between the threats inherent in the human community and the world of beasts, because the beasts either share their food or grab it from each other, thus showing mutual respect

[1] The first settlements with developed infrastructure and a constituted government that concentrated its political and spiritual power in the first city-states appeared in Europe in the beginnings of the historical epoch. These city-states developed literacy and legislation, and in the course of time, other forms of organization of urban life. Since then, “over a time span of five millennia, these relations have become increasingly more complex and have been changing in accordance with the new historical, social and other phenomena that resulted from common life on a single territory.” (I. Miklulcic).