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Zoran Poposki with HUSH in Tocka

On 27.01.2005. (Thursday) in 20.30. in the Cultural Center Tocka Zoran Poposki opened his third solo exhibition Hush.



In technical terms, Zoran Poposki’s latest individual exhibition represents a move beyond his former mode of expression, based exclusively on oils (acrylics) on canvas, into a new kind of media for him – digital prints. The production process of his latest series of ‘expressive portraits’ starts with the photographs of his friends (their names are the titles of the works) who, by means of a dadaist method of chance, select sentences from works of trivial literature, and in turn that quote becomes their personal ‘statement’. According to the author, the title of the exhibition – HUSH, should be read in terms of Lacan’s ‘muteness’, that is the inability to express something, whereas the randomly chosen sentences, which don’t correspond to their life situations but at the same time strangely correspond to them, tell us something about them after all. The interpretation of these sentences leads us to an entirely different, quasi-serious extreme, even to a psychoanalytical approach in our attempt at perceiving each person and its ‘statement’.



The exhibition comprises a total of eight large-scale digital prints, while the technique in which the works are produced, the concept, as well as their very process of production are completely new for Zoran Poposki (this is his first time that he’s combining photographs, text and sound). Nevertheless, the author leaves ‘his personal mark’ by completing this whole with elements from his painting, such as the perception of space and color as a primary means of expression evident in his previous two exhibitions (‘Journey of Desire’, 2003, at the Cultural Centre Tocka, Skopje, and in 2004 at the Cultural Centre Marko Cepenkov, Prilep).

The calmness of the characters represented stands juxtaposed to the expressive colors and the ‘free’ expression, the references of which lie in abstract expressionism and action painting. At times one gets the impression that this dominant picturality is in conflict with the title of the exhibition. On the contrary, the expressiveness, interpreted by the author as an expression of inner spiritual and psychological states, contributes towards the realization of the need/necessity for the being to tell its own ‘story’, towards overcoming the barriers to free expression of emotions in a superficial world ruled by muteness.
 

 
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