about the artist: Petre Nikoloski‘Just like that’,
*** Soon after representing Macedonia on 1993 Venice Biennale I undertook extensive research of tactile senses in visual art contemplation, and 1998 in Open Hand Opens Space Gallery, Reading (England) I created “Space XXXVIII ’97 / XXXIX ‘98”. This object/installation could be contemplate mainly with the senses of touch, made in collaboration with William Kirby OBE Consultant in Arts Heritage and Visual Impairment, formerly an Art Collage lecturer who was registered blind since 1981, inspired by his raised maps and diagrams originally made for visually impaired and blind visitors to Wells Cathedral. The interior (5 x 3 x 2, 5 m) of this project is in dark, for the sited visitors it takes approximately two to three minutes to start recognising the raised images on the specially constructed walls expressively painted with primal colours and spices, therefore is necessary to engage senses of touch and smell to understand the space. The exterior (approx 7 x 4 x 4m) is in the form of white-soft block of fluorescent light coming from within, is made from several hundred large sheets of white (60 x 40cm) tissue paper hanging from fishing line construction *** In 2004, following the show at the Museum of Contemporary Art at Skopje, Macedonia I began extending the project “φ21°33', λ41°21'“(working title ‘The skin of Prilep environment’) I was born in Prilep and I left in my teens. In the meantime lots changed; therefore this was great opportunity for me to see the same environment from the pragmatic point of view, with help of large group of professionals that are emotionally or professionally connected to that particular landscape, and the result titled ‘Amnesia’ was shown at the same Museum in 2011. *** In 1989 I took part on ‘Sarajevo Dokumenta’, not long after Balkans especially Bosnia endured cataclysm, and for my second visit in 2010 Sarajevo was in ruins. This influence the outcome of my project at ‘Collegium Artistikum’, and the following 2011 at the same gallery while working on the installation “φ18°27', λ43°53'”, I recorded conversations with large group of Sarajevo citizens’ of their physical and psychological state during this never ending struggle to survive. The resulting several hours sound and video documents electronically compressed in to two-three seconds will become part of the material for the multisensory object ‘Explosion’ *** As part of this current long term project ‘Diary’ I just completed preliminary phase for collective project ‘From Conception to Materialization’, as a result of observation Reading University, Arts & Education degree student’s studio practice and their outlook on future performance as teachers and artist. This project will be a metaphor to revisit some of educational institutions, to work with their forthcoming practitioners that are ‘on the threshold between leaving securities of education institutions facing the void of professional uncertainty’. Brief Petre Nikoloski,Macedonian born British based visual artist. Selected Solo Exhibitions - Museum of Contemporary Art, Skopje, Macedonia (2011, 2004, 1989); Kolegijum Artistikum, Sarajevo, BH (2010); Norden Farm, Maidenhead, England (2003); Contemporary Art Gallery, Pancevo, Serbia (2003,1989); Monsaraz, Portugal (2003); Open Hand/Open Space gallery, Reading, England (1999); Tasmanian School of Art at Launceston, Tasmania, Australia (1997); Irwel Way Sculpture Trail, Rosendale, Lancashire, England (1994); Venice Biennale, Venice, Italy; Leeds City Art Gallery, England (1993); St George’s Church, Bloomsbury, London and London Ecology Centre (1992); Leeds Art Space Society, Leeds, England and Harlow Carr Botanical Gardens, Harrogate, England (1991); Grizedale Forest, Sculpture Trail,Cumbria, England (1990) Selected Group Exhibitions - Kolegijum Artistikum, Sarajevo, BH (2009); MKC, Skopje, Macedonia (2008); Collins Gallery, Glasgow, Scotland (2007); Contemporary Art Gallery, Pancevo, Serbia (1999, 2002); Stanley Picker Gallery Kingston-upon-Thames, England and Edinburgh City Art Gallery, Scotland (2000); Sacuyazawa Village, Yamagata Prefecture, Japan; Sabancy Art Centre, Yildiz Technical University, Istanbul, Turska (1997); Ernst Museum, Budapest, Hungary, Kunst Bunker, Nurnberg, Germany i BANFF Centre for the Arts, Banff, Alberta, Canada (1994); Hatfield University, Hatfield, England (1992); Cherry Hinton Hall Park, Cambridge, England (1991). |
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