Faculty of Fine Arts
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Item type:Publication, Documentary Practice as Praxis: A Direct Appeal to the Realization of the Social Act(Faculty of Media and Communication, 2024-10-15)Rajchinovska-Pavleska, NataliThe essential preoccupation of this paper is documentary practice as (social) praxis, the voice of the photography аs a direct mode of transmission and not only the discovery or mediation of reality. Alan Sekula's photographic discourse is taken as a case study, a practice that directly engages the subject – the position of the worker within the working class, critically representing the reality that is usually masked by spectacle. The hypotheses assume that the methodology of contextualization and discursivization of documentary photography (Untitled Slide Sequence, 1972) leads to a conscious perception of a historical and social reality. Using a cross-methodology of the author's theory and practice, referring to the author's critical point of view, Marxist and post-Marxist theories, this paper indicates that Sekula develops a specific photo-graphology concerned with the directness of expression, the literalness of meaning, and the unmasking of iconic signs captured by capitalist signifiers. The arguments underline that the use of documentary photography as a direct appeal can encourage the realization of a social act. The conclusion implies that the use of the author's voice in the direction of changing the movement of aesthetic production and reception leads to actualization, towards awakening of the passive component – confrontation with social stratification under capitalist order. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Documentary Practice as Praxis: A Direct Appeal to the Realization of the Social Act(Faculty of Media and Communication, 2024-10-15)Rajchinovska-Pavleska, NataliThe essential preoccupation of this paper is documentary practice as (social) praxis, the voice of the photography аs a direct mode of transmission and not only the discovery or mediation of reality. Allan Sekula’s photographic discourse is taken as a case study, a practice that directly engages the subject – the position of the worker within the working class, critically representing the reality that is usually masked by spectacle. The hypotheses assume that the methodology of contextualization and discursivization of documentary photography (Untitled Slide Sequence, 1972) leads to a conscious perception of a historical and social reality. Using a cross-methodology of the author’s theory and practice, referring to the author’s critical point of view, Marxist and post-Marxist theories, this paper indicates that Sekula develops a specific photo-graphology concerned with the directness of expression, the literalness of meaning, and the unmasking of iconic signs captured by capitalist signifiers. The arguments underline that the use of documentary photography as a direct appeal can encourage the realization of a social act. The conclusion implies that the use of the author’s voice in the direction of changing the movement of aesthetic production and reception leads to actualization, towards awakening of the passive component – confrontation with social stratification under capitalist order. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The Cross-media Dialectics of the Close-up(Institute of Macedonian Literature at Ss. Cyril and Methodius University in Skopje, 2023)Natali Rajchinovska PavleskaTheoretical discussions about the origins of the close-up methods as a specific cinematic means of expression, suggest that close-up presentation has a wider application than that in film produc¬tion. According to the American director with Ser-bian background, expert in the area of the “creative editing”, painter by profession, Slavko Vorka¬pich (Славко Воркапић), the approaching, the ap¬proximation and consequently – the zooming, do not have the same or equal role with the dialec¬tic potential of the close-up framing. The meth¬ods of the close-up are rooted in the traditional forms of artistic expression, such as photography and painting, while their genealogy can be traced to the “dramatic”, i.e., theatrical techniques. Ac¬cording to the film theoretician Sergey Eisenstein (Сергей Михайлович Эйзенштейн) the individu-al arts “converge” in the cinematography through the “method of the magnifying glass”, which gives expression to each individual characteristics of the different artistic disciplines, whereas the com¬mon method, as a common characteristic is consid¬ered as fundamental in all arts (1988: 3). The use of the close-up in different creative contexts notes a cross-media nature of the procedure, through which the ontological structure of each artistic me¬dium is being changed respectively. The analyti¬cal foundation of this research includes mapping the dialectical crossmediality of close-up methods through the elaboration of theoretical analyzes and examples from practical manifestations in various creative fields. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Contemporariness in Theory as a Historically Problematic Category(Institute of Macedonian Literature at Ss. Cyril and Methodius University in Skopje, 2020)Natali Rajčinovska PavleskaThis paper aims to provide insight into several relevant works of prominent researchers who challenge the term ‘contemporary’ trying to understand the time in which we live and the time in which we create. By presenting a comparative study of texts, this article seeks to understand the concept of time and shape (of representation/manifestation) in the context of contemporariness. from different points of view regardless of the perspective chosen in art or philosophy, etc. As a linguistic form, the term ‘contemporary art’ originates from the 20th century. However, in terms of its meaning, art has always been ‘contemporary’ at the time in which it was generated. We can only observe the works of the past as artefacts, with a contemporary point of view, trying to put them in the right place today. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Extension of Avant-Garde Practices towards New Media: Possible Theoretical Readings of Documentary Art Film Segunda Vez(AM Journal of Art and Media Studies, 2021-04-15)Natali Rajčinovska PavleskaThe subject of this analysis is the 94-minute documentary art film Segunda Vez (Second Time Around, 2018) by contemporary Spanish artist Dora Garcia, whose script consists of six separate sections arranged in an authentic narrative whole. The content of the film material is constructed on the basis of a complex theoretical and practical exploration of archival material and the original writings of the Argentine avant-garde theorist Oscar Masotta who devoted significant work questioning the societal and artistic context of the Happening in the 1960s, as a marginal counterpoint to the avant-garde developments that deviated from the cultural norms of Western civilization. Garcia's work represents a complex intertextual network of historical, literary, and philosophical data that encompasses the sensory aspect of the viewer's perception, creating a coherent film unit in which the author uses the mechanisms of narration to create a conceptual artwork. The main goal of this research is to provide a theoretical basis for analysis through narratology, editing as a conceptual tool, and final reading according to semiotics, in order to interpret artistic language as a possible domain for absorbing the experiences of art in extension. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The Poetic Act as an Act of Resistance in the Feminist Practice of Ana Mendieta(Bulletin of the Institute of Ethnography SASA 69 (2), 2021-09-24)Natali Rajčinovska PavleskaBetween the potential to and the potential not to, according to Giorgio Agamben, there is a process of a creative (poetic) act, as an act of resistance towards the end of one's own completion, in this context analyzed through the work of feminist artist Ana Mendieta. Regarding the (in)completeness, Mendieta’s oeuvre exemplifies a perfect illustration that the disappearance of her art work is a way of communication that resists production of any formal finality, as a process within which the traces of the media used (her own body) also disappear because of the time and circumstances left to nature. The dematerialization of artwork in Mendieta’s case epitomized one of possible aspects of exposing the act of resistance as a realization of a quantum of potential through the event, appearing as a poetics of inoperativity as defined by Agamben and erasing boundaries between the inception and the performativity of the poetic time, a duration that is not limited to one existence or aesthetic phenomenon. In the intersection between early feminist art practices (based on essentialism) and the second wave that relied on anti-essentialism as a new conception, Mendieta's work positioned its own dialectic among the separated feminist views about the use of the female body as a medium - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Нови аспекти на толкување на интермедијалноста(JOURNAL OF CONTEMPORARY PHILOLOGY, 2021-06-22)Натали Рајчиновска ПавлескаПредмет на анализа во оваа студија е преисчитувањето на медиумските конвергенции што се појавуваат во 1960-тите години од XX век, прикажа-но преку делото Prune. Flat. (1965) на уметникот Роберт Витман. Интерме-дијалноста, карактеристична за ова дело, e резултат на истовременото из-ведување перформанс и филмска проекција, кои во процесот на совпаѓање и на јукстапонирање создаваат медиумски специфичности, кои иманентно им припаѓаат на одвоени дисциплини. Нивното спојување генерира, според Р. Констеланец, медиум на проширен театар, а преисчитувањето има цел да покаже дека проширувањето се случува како дијалог меѓу различните дисциплини во нова уметничка форма, настанот, и како такво е проширу-вање не само на театарот туку и на филмот. Студијата има цел да покаже дека станува збор за суштински дијалектички принцип на обликување и на структурирање, преку примената на поимите коприсуство, прекинувачки механизам, монтажа, според Б. Брехт. Соодносот меѓу медиумските арти-кулации ги изложува границите на поетската одредливост и онтолошката валентност, го одредува авторскиот глас и гледната точка (М. Бал), поставу-вајќи го конфликтот меѓу структурните елементи на концептуално рам-ниште (С. Ејзенштајн). Студијата поминува низ генеалогијата на процесот на структурирање на делото, опфаќајќи референцијален ризом меѓу поет-скиот чин како чин на отпорот (според Џ. Агамбен) и различни теориски вкрстувања, кои низ дедуктивен пристап ја преиспитуваат ремедијацијата, како формулација на нова естетска материјалност. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Примена на дискурзивна анализа на концептуалните односи на авангардните уметнички практики и новите медиуми(2022)Натали Рајчиновска Павлеска