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Maletin & Marko 

Zoran Iliev - Roger

Vucic Cetkovic

Björn Dämpfling



08.07. – 21.07.2016
Pandora Apostoloska Sazdovska
Saso SAzdovski






In the past six out of fifteen years, following the end of the civil strife in Macedonia, the artistic career of Pandora Apostolovska Sazdovska is geared towards the creation of works, installations and activist public projects evoking the feeling of lost. In the early stages of her calling, she bravely questioned the link between war and civilization, mourning the failed dreams of the modern man. Informed by deep sensibility and, driven by psychological anxieties she personally experienced in a country once caught in the flames of civil strife, her work is a subtle but legitimately brutal reminder. Her evocative installations weave her childhood memories with the suffering of the Syrian kids and the mute but deafening cry of their mothers. Fashioned from specific materials impregnated with personal memories and belongings she creates regretful spaces reflecting the everyday life horrors.
The symbolism of her 'art poetry' addresses the failed moments of humanity in all this tragic, anti-poetic real-life dramas, exposing the inability of man to come with his/her own pseudo-grandiose terms. In that logic her work is pessimistic but also deeply poetic in an Adorno_ian sense – if “no poetry can be written after Auschwitz,” as this great intellectual proclaimed after the World War II – she asks what poetry can grasp the Auschwitzes happening in Syria today, in the Middle East yesterday or in the Balkans only 10 years ago?



„DIFFERENCES“ - Sasho Sazdovski
Saso Sazdovski is an artist who perceives his sculptural experience and works’ conceptualisation through strict and symbolic forms and clear minimalist compositions which, depending on the thematic disposition, create mutual rhythmic /continual relations and harmonic/specific positions.
The gaze of the spectator is always engaged with the straight or curvy/rounded movements of his sculptures, focusing on the volume and lines’ sculptural language, following simultaneously their dynamics which, most often, calls upon the clear and reduced subtle plasticity.
When the titles of his previous sculptural cycles, such as “Infinity,” “Family” or “Energy,” are seen, it is immediately clear that Sazdovski insists on firm and concrete problematising of the sculptural experience of the treated materials.
Plasticity of conceptualisation, tactile reduction in abstract, symbolic and associative forms, elementary craftsmanship of the used material being always consistent and discarding any surplus/shortage in the expression of the basic character and author’s sense of the shape; accuracy, primary and clear sculptural form and consistency in the formal composition.
His previous exhibitions have been always based on clear settings strictly moving in the framework of the chosen material and its visual-spatial shape. Sensuality is reduced to calm expression, to the nonexistence of an ‘accidental’ trace and in rational suggestivity which, most often, is threaded with rounded plastic structure moving from outside to inside. There is no tension regardless the used material (marble, stone, tree...), even when works realised through different materials combination in their compositional shape are at stake.
In the work of Sazdovski only clear plastic acts and materialisations exist, occasionally expressing certain decentred form, but again, even that content is harmoniously, proportionally placed in the orderly framework of the formal, high quality plastic solution.
In his latest, grand dimensions achievement, Sazdovski goes a step further or, creates a spatial show, which, in its subjective context, is completely different from his previous experience. Namely, “Differences’ is closer to an installation combining different/counterpoised materials as to Sazdovski’s previous deed such as marble granite from one side and plexiglas from the other...
This exhibition is now in a complete synergy with the space, the interaction between the viewer and the work gets a certain engagement and, in utmost relation to author’s work, obvious is the mutual interaction of different structures of same or differing materials and their combination in specific , formal relationships and proportions according to the personal idea and feelings.
The author here simply dissects his compact “ideal” and rhythmic experience of the sculpture as a compact plastic structure from the tradition of the sculpture liberating it in an “object” made of different and “confronted” materials. As a stepping stone for this spatial composition the author takes his sculptures names as “Differences,” exposed in New York USA and Berlin Germany, made of the combination of marble and granite elements with “pieces” of plexiglas.
According to the author, the subject of “Differences” results from the intersection of natural materials made of sedimented, differing substances such as the marble as calcium made remnants from fossilised organisms from the bottom of the seas and, on the other hand, there is the Plexiglas as industrially made material.
In this exhibition, constantly present is the author’s attention as to the relation visible/invisible, present/nonpresent, transparent/nontransparent in relation to the used materials.
In all these objects we may read metaphorical contents but also, being perhaps even more important for Sazdovski, is the sculptural spatiality as technically aesthetic process preoccupying the author in the work on the very form. In his latest work he maintains a certain universal relation such as the symmetry in its already diverse approaches towards the sculptural disciplines and links with the materials.