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 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


29.12.2006 - 19.01.2007

Marina Cvetanovska Martinovska

"For the fullness and emptiness" 











Marina Cvetanovska Martinovska - For the fullness and emptiness 


Setting a problem how to create a piece, which at the same time is going to be classical and contemporary and consolidates the idea-concept, which is going to offer visual intrigancy and rhythmicity, Marina Cvetanovska Martinovska makes her decision for a more complex project. It suggests different examinations, that can be seen even from the given title "1234567". As a young sculptor, this artist still searches for her authentic expression that should be in correlation with the things nowadays. She finds herself on the net between those things that have professional loading – sculpture process and new ways and technologies of the artistic expression or the idea – art. Cvetanovska makes decision for a juncture, a combination of the above mentioned staff.



Marina Cvetanovska Martinovska




Materials, that she uses are tin, ortoma (handy made from red woollens), digital prints and miscellaneous staff such as: buttons, rivet, thread and many others. The project consists of seven objects, that actively animate and include the area as an essential element of the final effect – that gives a clear notion and explains the idea behind and it is installation. The project's conceptuality can be underlined with disconnection of the small part of a minor segment of the whole.  For example the stamp (with the face of the author and backdrops of her native town Kumanovo), that with such function, put on the envelope and sent (as on the invitation) represents its final cycle. Work, project themselves. This situation can be repeated with many other segments.






Cvetanovska, perfectly, articulates each artistic element, that she uses with a help of the line, colour, texture, form, space and achieves rhythm, gradation, balance, harmony..... She works with contradicting dichotomies, with contrasts: black – red, full-empty, silky - coarse, horizontal-vertical, material-spiritual, soft-hard, opened-closed.


As a praform, where Cvetanovska starts her journey, she uses the pillow. The artist formulates and transforms it and reaches various plastic decisions. After primal, closed, voluminous form, there is a phase of gradual opening of sculpture, with an absence of volume. She uses various supplementary elements ( ortoma, buttons, rivet, thread) and that is why she makes the cold and cruel iron's nature more lively and dynamic . at the same time she transforms iron into material, offering various decisions for possible ( imaginary) closing of the form. She performers the surface of the iron tin, and her perforations are, to certain extend, tactic part of the surface. They serve sometimes for stringing the ortoma, which transforms its characteristics, suggesting softness, elasticity and possibility for sewing the two tin parts (successfully taking the attention of the eye from the welded process, where the tin parts are joined. The red ortoma, as a material and as a chromatic emphase, is present on the objects and in the space as well. We talk about emphasised verticals that unite space, and with its setting, vibration and shadows that form, create rhythm and alter (balance) the emptiness, that is the consequence of the absence of volume.


During the process of identification of the expressive qualities that this artistic work offers to us, it can be noticed that Cvetanovska uses again contradictions: material world in reality with all human habits and existential problems vis a vis spiritual world through story, dream, art. Some of these realias or irealias are visually presented on the ploter prints (food, dream, look at the mirror, narcism) or in praform – pillow (she fides human intimate, there are all secrets collected, that should stay imprisoned) or through author's stamp and envelope that have similar intimate associations. Though this project, the author tries to notice the things around her in the way she sees them. Presenting her point of viewing things, she sets a general dilemma as a problem , underestimating spiritual world of art in  relation to material world. Conscious for the addiction of the spiritual world from material or better to say, for the art addiction (the artist) from reality, she sets it as a contrast attitude (better to say, wish) for art existence as an existential need of the normal person.


This newest Marina Cvetanovska Martinovska's project represents various planned and complex artistic act with various meanings  and it offers  visual pleasure and miscellaneous ways of its interpretations or "  completing" of form and idea.  Using the linguistic game of words, she gives names of her works: " For the rhythm of the full emptiness", " " Real emptiness and unreal fullness", " For the void in the fullness" etc.  The works themselves are set in space in the same way and continue the story of " for the fullness and emptiness" from different points of view.


Ana Frangovska

Titles :

-  For the rhythm of the full emptiness"

-  " Real emptiness and unreal fullness"

-  " For the void in the fullness"

-  " For the interior fullness and interior emptiness"

-  " The fullness through the voids"

-  " Because it is void"

-  " The void through voids"