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Contemporariness in Theory as a Historically Problematic Category
(Institute of Macedonian Literature at Ss. Cyril and Methodius University in Skopje, 2020)
Natali Rajčinovska Pavleska
This 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.
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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 Pavleska
The 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.
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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 Pavleska
Between 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

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