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Tocka
also meant finally a shelter for the nomadic half-real half-visible
spirit called Margina.
Not
only during the opening (followed by Igor Toshevski's exhibition, Transfers,
and with the promotive words by the architect /of inner and outer
worlds/ Mitko Hadzi-Pulja and of the editor /of uncertain orbital
worlds that constantly escape i.e. the controller and the observer
of the electronic clashes/ Nikola Gelevski), but years ago, and the
whole period behind - the debates about the key questions endure
among us.
For
example: Is the body of Margina only a magazine or,
embodiment happens through the place where Margina works,
where people match and mix their energies?!
In
one of our discussions in Tocka the theory of
transsupstantiality gave a possible way out which partly calmed down
the hot dilemmas that have their strategic, political aesthetic and
moral implication.
For
example: does Margina establish itself, institutionalizes
itself and formalizes itself "finding out its body"?
During
our discussions, the settling of the fluid wanderer (on which
forehead, as if it were Golem, is written, maybe tattooed - Margina)
was greeted, with a little cation, and a new phase was announced in
the modest muddy-sculptural Odyssey. But more than the care for Margina
itself, the need for existence of Tocka was stressed and
welcomed, as a shelter where the margins, understood in the widest
possible sense, which means very paradoxical and often contradictory
sense, should come together.
In
a way, the key words of these new phase of acting of Margina,
of Templum, of the NGO Kontrapunkt and of cultural
center Tocka are: interference and confluence of the
Margins. The context now is more complex, more factors are
involved, more different actors, more people and more obligations
and responsibilities. |
