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Dialog: Z.Radevska/N.Trajkovski

 Koraljka Kovac 

Valbona Atanaskovska-Bona

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Sibylle Hoessler

Denis Tenev

Lovro Artukovic

Andy Christ
Giuseppe Madonia

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Tim Deussen


Koraljka Kovac

"Meditationsraum 2“

20.05. - 02.06.2005









Photo: Jovan Balov







Photo: Matthias von Hoff



Mladenka Solman


Paintings of spacious spreads and tender colours ( a combination of paint and wax ), along with the interventions of scratching and stripping away the material. result in the two ways of approaching: by eye and by touch. This introductory sentence from the preface to Koala Kodak’s exposition opened in 1996. at the premises of the Club Gjuro II, written by Anamaria Hucika, has proven to be a characteristic point of both the painter's stand-point as well as the means of elaboration.


Through the tensions of the surface roughness and the sublimation energy of the colour, the author reduces the span between the material an spiritual values – the reality and the art. While in her early works the share of curious characters and linear entanglements supported the ludic charge of the painting, rather soon the imaginative arrangement of freely organized surface partitions prevails, with the construction being more than paradigm. Indeed, it is an open model of individual melodic impostation wherein WHAT and HOW mutually determined each other. The series of paintings on paper ( Paper's Touch1, 2 and 3 ) realized at the end of the 20th century bears significance by its translucency of surface, smothered shades of colour, material densities and shining as means of providing space with material, intimacy and cosmicity. As if the author gained consciousness of the depths and scope of her affinities and, most importantly, reaches the threshold of the sense to read her own sensibility.


Playing with paper as a material along with the rules of collage techniques – positioning, fixing, adding and graphical interventions directed Koraljka Kovac towards the art of simple rules, spontaneous organization, imaginative relations, combinations and effects. The series of paintings titled "The Guest Room" ( 2002. ) opens, paraphrasing R.M. Rilke, "the grand space of feelings and underlaying reality" via an arrangement of planimetric orchestrations, dynamically colored surfaces, transversal accents and exposure of underlaying lines of force. "The Grand Guest Room" (2003.) adopts the state of "a sort of higher visibility" through its differentiated relationship of blue, disturbed by vividly colored ribbons – the character of its composition and solemn fulfilment of colour. Such a view of the induced sublimation energy is especially present in the formal / gestural sedimentation of the series.


"SPACES of MEDIATION" (2004.) Distinctively from the earlier, more complex accompli shments, this series is spiritually close to being lingual by its suggestive simplicity of actions, the richness of variations, the directness of the relationship and the suddenness of the echo in an impressive scale of colouristic potential facture of careful construction. The artist creates surfaces of mutual exchange and responding transformations, screens of radiance and meaning through layers and interpenetrations of tectonic graduation and performing persuasiveness that convert everything into "the matter of transformation".


The wavy ripples of pulsating traces, loose, porous surfaces of rich layers and stimula ting geometrical arrangements / divisions, transparent textures of simple rhythms or thick saturations built the plastic universe of specific vibrations that are the guide and the _expression, samples of infinity over the surface of the canvas.

It has been told that the power of art lays in the manner of expressing the variable and the complex within the small and the simple. The artist achieves that goal by magical productivity of material, contrapunctuated organization and the luminous / spiritual magnetism of colour. The warm emanation of the red, the yellow, the orange, the suggestive whitness and the nostalgia of the blue, have the plastic fullness and emotionalfulfillment. The character of language and its dilatations, based on experience opens up the reality of suggestive overlaps of experience and fantasy. The tensions of harsh and soft, movements and stillness, diffuse space and formative lines of force of the primacy attained by level altogether become a measure of myserious wholeness. Traceing the line and its rhythm, Koraljka Kovac creates ideal harmonies of plastic essentialism in "a topical" concept of deeds and suggestions wherein the _expression adopts the proper ties of the expressed.


 Mladenka Solman

Translated: Prevod Friscic