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Loves me/Loves me not

Goran Menkova

Doroti Packov

Boriana Pertchinska

Ilija Prokopiev

 Elena Alceva

Adabana

Marija Koneska

Ivanco Talevski

4 Künstler - D in Wedding

Andrea Covic

Snezana Maletin

Sechs Positionen

EARTH effects

 

 

 

28.08. - 11.09.2015
“Money Makes The World Go Round”

Elena Alceva

 

 

 

 

 

 

 

     


     

     

“Money Makes The World Go Round”

While the “societal wealth” created by the civilization function on the global market with its monetary and symbolic value, manifesting its materialistic side, the modern art is the factor that can independently demonstrate the materialism of the things out of their trading system established values, showing these “civilization necessary benefits” in the scope of an artistic – visual concept, in order to create space for critically engaged recourse. Exactly the young author Elena Alceva with her thematic exhibition titled “Money Makes The World Go Round” steps forward with the presentation of her critical views from a subjective, but also societal, religious and political aspect.

 

Through the constructed objects, plastic ready-made coins, banknotes, forex, wood, plexiglass, which have the main accent and carrier of the context of the oeuvres on the multitude of coins and banknotes, she relativizes the materiality values in the global context, putting it into frames of an aesthetic discourse. By multiplication of the currencies in the photo-mosaic composition “Exile!” she questions the trivia of that same means of payment which is mechanically repeating till eternity associating the eternal needs and desires which are imposed by the monetary consuming system, “immaculate needs” from the time of the Eden utopias.

 

Clearly colored solutions exhausted by the traditional coloration is typical for this region, as well as the mythological characters situated in local ambient context and the clean compositional structures make concrete the question which burdens the author obtained from her intimate, personal thoughts and life situations, and give a visual narration of the oeuvres. In a clearly formed compositional structure, depersonalized figures and individually separated stories from the mythological tales in which the money with their mythical prefix construct the artistic, imply and rise the contextual level of objectification from which the audience should conclude the moral aspect with collective awareness (“Euro Adam”, “Sisyphus”, “Dania”).

 

Her artistic syntax of the symbolic materialistic antipodes versus the spiritual, present an engaged critical thought for the current societal conditions. All these works synthesize and project her critical aspect towards the societal and political appearances, and most of all, towards the dehumanized conditions of the civilization.

Elena Todevska Trencheva