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Desi Deneva

Biljana Bakaluca

Darko Moraitov

Sofija Grbuloska

Ivan Ivanovskis

P.A.Sazdovska & S. Sazdovski

 Petra Jovanovska  

Marija Sotirovska Bogdanovska

Maletin & Marko 

Zoran Iliev - Roger

Vucic Cetkovic

Björn Dämpfling



24.06. - 07.07.2016
"Wo ist mein Kreis verschwunden"

Petra Jovanovska











The universality, the magic, the symbolism, the alchemy,the vivification are just some of the wide range ofideas for the application of the circle as a basic modus inthe creation of the works from the last cycle of the authorPetra Jovanovska. The circle represents unity, wholeness,infinity. Something with no beginning or end, no sides orangles. Circle means protection, but also limited freedom,norms, rules, social restraints. It is a sign of fulfillment andcompleteness, of merging of the polarities, regenerationand eternity. Often with the shape of the circle the sun ispresented as the main source of life, but also the elementof spirit which is equally related to the four elements offire, air, earth and water. It is a symbol of the life cycle, ofparadise, of the universe. Symbolically our whole life maybe linked to the shape of circle, once we are up, anothertime down, over and over again to begin climbing, or falling.The spiritualists believe that human existence is directlydependent on this shape. The schemes of our DNA arecomprised of circles, we are all conceived from a roundegg cell, we live on a round planet, a round sun warmsus, the progress of civilization is directly dependent on theapplication of the circular form – the invention of the wheeletc. The labyrinth and the knobs are also a way of seeingcircles and reaching inner peace and spiritual greatness.For referentiality and cause-effect corpus of discoursesfor the application of circular shape a lot more can be said,but this is a starting point in the determination of the roleof the circle in Jovanovska’s works. Petra Jovanovska is agraduated graphic artist, who expands her technical repertoireby using a variety of media as part of an experiment,perpetualness, but at the same time also synchronicity, through which the concept of the circle is explored. Frompainting to graphics (linocut, dry seal), through collage, photography, drawing, she explores the infinite variability of“playing” with the circle. Jovanovska decides to take something from the pop-artistic manner, and that is repetitionand mimetic multiplication, in her case of the circle, whose content is changed or repeated. Another reminiscenceof the art of mass media is the intense, vivid colors that should attract the attention of the observer. Some circlesare colorful monochromatic and sterile and others are crammed with information (detail, hint, emphasis, abstract,photography, text, facture, etc.) and give rhythm to the polymorph composition.Often the composition itself is multiplied in diptychs, triptychs, polyptychs, so the mimetics and dynamicsare even more expressed. Actually each circle is a story in itself, and the merger of many such narratives is reminiscent of one’s becoming a witness of alarge set of macro-narratives. In some of theworks Jovanovska also uses the square as anopposite shape with which she creates contrast,opticality, but also a graphic play. Linguisticconglomerations as a drawing emphasis arealso used often to create interesting and conceptuallystructured composition.In terms of content the works possessmany autobiographical portents, with manypersonal questions (identity, affiliation), to somecriticism or open individual reactions tocertain more global issues (such as ecology,industry, food, social reality, etc.).The installation of small narratives, on theother side, (which even though placed in asquare accordingly with the wall; follows thecircle shape of the hammam) creates a situationof one large macro narrative that needsto be perceived by the recipient.With this latest creative cycle Petra Jovanovskashows her serious intentions to leavea trace on the Macedonian contemporary artscene, to offer an entertaining and intriguingexhibition that as a basis would include lusciousbasic artistic and aesthetic qualities, andfinally, relying on the classic teachings andmethods and using the “old” mechanisms, tocreate conceptual spatial manipulations andcreate something personal and especially fresh.

Ana Frangovska, curator