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Dimitar Hristov

Milan Andov

PostWalterismus

Kristina Aleksandrovska

Atanas Botev

Agron Saliu

Zusammen in der Vielfalt

face to face

mARTyer

Drei Positionen

 Eugen Borkovsky

Goce Andonoski

 

28.02. - 21.03.2014
WEISSE AUSTELLUNG; FRAKTALEN
Eugen Borkovsky

 

 

   

 

   

 

     

 

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In deep discretion of white non-color, by delicately weaving the spatial drawing and modelling the untouchability of the picture, Borkowsky approaches us with a poetic minimalism. Eugen's works harmonize by means of rythm of suppressed acoustics in complete white and the complete pure.
…Clear verticals articulate themselves as graphemes under the burden of lightness in their meditated versions. The text is created from the curved handwriting of a thin,delicate and porous wire page up to the forms which in his case reach an ideogramic status.
…Bound to the estetic, bound to the sharp gesture of the natural cut (for example a branch) in accord with tree tops, clouds and meditations he generated from an abstract game, from the autonomy of self-expression to the respect of his own language where he put his faith and which now communicates in return. In a word, this is mature, explicit, sublime poetics.
…When we discuss Eugen's new cycle, we discuss whiteness. Silence. Curvature. The only concreteness of the world, which appears as an illusion, which warms along the void of coldness, which buckles with virtuosity with every new moment into its anthitesis. It is a misterious path from a snow flake to frozen ice covers, a misterious path of a language that never says anything specific, yet is recognizable in every language in the world: white!
…''Cobwebbish'' rooms of solitude and wakefullness, are beyond the world in wich the artist participates but renounces with the first contact with shaping,drawing, speaking, colouring and non-colouring.
Ph. D. Nataša Šegota Lah
 


***

If we adhere to the thesis that a noticable number of works by contemporary artists are sensitive to the ecological and the meditative component of the artistic creation, then we will recognise the ambiance of Eugen Borkovsky as work that, with exceptional synchronicity, feels and fits into the present moment of art. Namely, after years in which the artists had, more or less rigidly in a single dimension of works, emphasised the ideological-socio-political energy of one's own work, parallel with that , some ten years ago a big come-back of land-art happened as a basic need for a direct involvement of nature in the artistic concept.
Borkovsky's ambiance leaves a lot of open questions: does nature around us today have to be so artificially polished so it can once again gain the observers attention, or are we actually standing in front of an artificially created installation of nature because something else will cease to exist in the future? In another, more optimistic interpretation, this ambience, with it's tactile quality and exeptional sensibility for a great range of light and shadow effects which are created by the forms of branches and nets in a pure gallery enviorment, offers what we could call the ultimate virtuosity - the level of mastering the relationship between the work and the gallery space in which the work and the space are perfectly joined into an inseparable, interdependant relation in which everything is visually-spatially explicit. Subject to deferent interpretations, this installation is deprived of every pretenciousness and hermetic pseudo-intelectual connotation. While simultaneously rendering the pure visual and spatial beauty of forms, and the simplicity of an encompassed estetic picture, precisely through which, the artist reaches the ultimate contemplativeness and meditativeness, regardless whether it is real or utopian.
Iva Körbler