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      2009                                  

Arat 20

Tatjana Maneva

Debora Ruppert

Mia Stojanovic

Milos Vasiljevic

Gaudeamus igitur

Mimoza Veliu

Reading the City: Skopje

Tomislav Todorovic

Saso Popovski

Mile Saula

 Antoni Maznevski

Artophilia

Sinisa Prvanov

27.03. - 18.04.2009

"CROSSWAYS",

Antoni Maznevski, Skopje

Antoni Maznevski

Antoni Maznevski, "crossways" (Kreuzungen)
(Kunststoff-Skulpturen)

Leben erzeugen durch technische Perfektion In der heutigen Welt der Isolation, wo die Sterilität der gegenwärtigen digitalisierten Kommunikation Entfremdung erzeugt, gebiert nur metaphysische und künstlerische Kreativität die Sub-Welten der Kommunikation und Kreuzung auf verschiedenen Ebenen. Darin existieren neue humanoid-antropomorphe Formen und Gebilde, die ihrerseits auf einer sterilen, vorgegebenen Komponente dieser Welt beruhen: der kurvenlinearen Struktur, deren lang vergessene Funktionalität eine völlig neue Rolle besetzt: als Spenderin "neuen Lebens".

Dergestalt ist die neuste Mikro-Welt, sind die neuesten Werke des Antoni Maznevski. Eine Fortsetzung seines Ausstellungszyklus von Zeichnungen (Mala Galerija, Skopje), die auf demselben Konzept beruhen. In seinen neuesten Werken nutzt der Künstler jedoch nicht mehr nur die Linie,
sondern die spezifische Form einer Plastik-Matrix - kurvenlineare Skulpturen, deren Verwebung, Kreuzung, Vervielfältigung, Veränderung und Ersetzung aufregende amorphe Verbindungen erzeugt, humanoiden Gebilden ähnelnd; diese sind für gewöhnlich bisexuell, verkörpern das männliche und weibliche Prinzip in einem; sie selbst sind, unter verschiedenen Blickwinkeln, die Antwort auf Fragen der Kreuzung.

... zu beachten ist schließlich auch das von Antoni Maznevski für seine Werke verwendete Material und die Perfektion, mit der er diese Werke schafft. Maznevski verwendet überwiegend synthetische, künstliche Materialien (Kunststoff), ein Hinweis auf moderne Technologien und
Erfindungen sowie auf deren negative Seiten ... Maznevski meistert sein Material bis zur Perfektion und verwendet es wie ein Virtuose, bis hin zur künstlichen Vollendung (plastic perfection) ...
 

Text (Auszug) Ana Frangovska; übersetzt von Thorsten Weilguny

Creating “vivification” through technical perfection

In today’s isolated world, where the sterility of contemporary digitalized communication leads to alienation, only metaphysics and artistic creativity create sub-worlds (using our world’s model) of “communication” and “interbreeding” on different levels. In it exist certain new humanoid-anthropomorphic shapes and forms, which they themselves, comprise of a sterile readymade of this world - the curvilinear, whose long-forgotten functionality acquires a completely new role: a giver of “new life”.

Such is the newest micro-world, the newest works of the author Antoni Maznevski. They, in fact, represent a continuation of a pre-displayed cycle of drawings (in “Mala galerija”, Skopje) of the same idea and concept. However, in Toni’s last several works, he not only uses the line, but also the specific form of that plastic matrix – the curvilinear (a liner previously used for technical drawing) whose interweaving, interbreeding, multiplication, modification, impastation, and substitution create compelling amorphous associations resembling humanoid shapes, usually bisexual, i.e. they themselves constitute both the male and female principle, so they can themselves, from different aspects, answer the question of “Interbreeding”.

These group or individual spatial beings, due to their cyclic repetitiveness leave the impression of rhythmic spatial arabesques and decorative-geometric stylization, however the narration they carry themselves, the philosophy and manner of processing create a homogenous cosmogony, which in itself, in terms of a biological dictionary, would consist of numerous biogenic, smallest albuminous vivifying particles, which are a part of every living organism.

The Eros is also an important aspect in the poesy of Maznevski’s works, and despite the previously mentioned fact of connecting the male and female element, the erectile or phallus shape also dominates in the “supremacy” of the works themselves.

The line, besides shape, form and color, is the leading structural art guide, which creates, announces movement, and even gives associations to new possible future variations of the already given topic. Space itself is animated, i.e. certain objects are preinstalled – free sculptures, however, the ambience or chamber arrangement offer a studious esthetic esotery.

The final aspect, which needs to be taken into account, is the use of materials and the perfection which Maznevski masters when creating his works. The materiality of the works represented in this exhibition is predominantly plastic, synthetic, and artificial – alluding to modern technologies and inventions, as well as the negative effects of their use (although the use of natural and easy-to-recycle materials has become a worldwide trend). Nevertheless, he masters material to perfection and treats it like a true virtuoso, until he creates “plastic perfection”. Thus, the cohesiveness of idea and material mastery, i.e. the performance of the “final product” are the key phases and processes which are of the essence in the works of Maznevski.

“Interbreeding”, as a topic which offers a great deal of various opportunities and research, and still denotes a work in progress (after which principles the work called “Beetle” has been created, and even Mozart’s Ship) shall remain a challenge for Maznevski. And only time will tell what will his next solutions be.

Ana Frangovska