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     2006                                  

Marina Cvetanovska Martinovska

Emilia Duparova

Vidoje Tucovic

Ottjörg A.C.

Anka Danailovska

Miodrag Peric

Dijana Tomic Radevska

Revolt MKD

Archi Galentz

Armin Kauker

Birgit Maria Wolf

 Beyond the light and the colour 

Dusan Todorovic

Wadim Rakowski

Ulrike Markert

Sun for All

Daniela Pancevska, Elizabeta Riskovska, Milan Stojanov, selected by their professor:

Supported by

Ministry of Culture of

 the Repunlik of Macedonia

Die Ausstellung „Jenseits des Lichts und der Farbe“ ist durch die Zusammenarbeit zwischen dem „Prima Center Berlin“ und dem mazedonischen Kunstprofessor Konstantin Tančev - Dinka zu Stande gekommen. Auf Initiative des Kunstprofessors bekam PCB die Gelegenheit, die Werke der jungen Künstler, die ihr Graphikstudium in der Klasse von Tančev - Dinka abgeschlossen haben, zu präsentieren. Die Mappe mit den Werken für die Ausstellung wurde schon Anfang des Jahres vorbereitet aber unmittelbar vor der Ausstellungseröffnung um einige Werke erweitert.

        Sonja Gorgieva           Shkipe Mehmet           Milan Stojanov             K. Tancev - Dinka

Alle Exponate sind Siebdruckwerke, die an der Kunstakademie in Skopje gefertigt wurden. Im Sinne der neueren Tradition, wonach die Kunstprofessoren zusammen mit ihren Studenten ihre Werke ausstellen, hat PCB den Kunstprofessor Tančev - Dinka eingeladen, auch seine eigenen Graphiken zu präsentieren. Alle Werke weisen eine inhaltliche Verbundenheit auf: die Geschichte Mazedoniens und ihre Widerspiegelung in der heutigen politischen Situation des Landes.

In Mazedonien dominieren die traditionellen Grafiktechniken: Mezzotinto, Aquatinta, Radierung, Lithographie, Tiefdruck u.a. Die Klasse von Tančev - Dinka pflegt aber die Siebdrucktechnik. Durch die hervorragende Druckqualität bekommt diese Technik die gleiche Bedeutung wie die anderen Drucktechniken. Der Kunstprofessor Konstanrtin Tančev - Dinka und der Künstler Milan Stojanov waren auf der Ausstellungseröffnung anwesend.

Übersetzung aus dem Mazedonischen: Elizabeta Lindner

K. Tancev - Dinka and Milan Stojanov

Instead of the surrealist discourse which was predominant in the earlier artistic activity of the Macedonian graphic artist, designer and painter Kostadin Tancev-Dinka, this exhibition is characterized by a sophisticated hyperrealist articulation. Some elements which can be recognized in this artist's most recent works are chiefly rendered through fragmentation and quotation. These segments which are inherent to the postmodernist concept have not introduced anything new into Tancev's painting; they reflect a constant and consistent cherishing of his old practice, this time only re-coded and stylistically directed towards another, and for him a new, discourse. Tancev's discourse is articulated through fragmentation and quotation of artistic iconography taken from Macedonian archaeological and ethnographic heritage as well as the heritage of the European Renaissance tradition.

However, what is authentic in this artist and what makes him different from other artists is his longstanding inter-media activity in the field of the visual arts. These experiences have actually molded his syncretic approach and made it possible for him to subtly establish the precise relation between the techniques of painting, poster and graphic arts.

Moving between modernism and current events, between figuration and geometry, between the visible and invisible, Tancev subtly moulds the notion of time through a melancholic and nostalgic intonation. The obsessive presence of time is articulated by means of different situations in the building of the atmosphere and the interpolation of destroyed, decomposed objects of the material and spiritual culture of our ancestors (prehistoric pottery at Marvinci, Old Church Slavonic script) ethnographic objects, etc.).

Using the principle of film frames/fragments, the artist builds his compositional and narrative structure through mimetic codes. Tancev´s viewpoint is detached, always directed from the inside out and focused on the concrete Event. Drawing them to the fore in a close-up, the artist refers to the imaginary time and place of action which occurred sometime in the past. Perhaps the marks of a past action, or the action in a state of peace, suggests the reception from a certain distance? Moving from an interior to an exterior position along the trail of light or along the trail of sharp or diffusely spread shadows, the observer can experience the emanation of different intervals and oscillations in the atmosphere and also has the impression of his own, personal, virtual presence in the artist's Events.

Konca Pirkoska