LADISLAV
CVETKOVSKILADISLAV
MUZEJ NA GRAD SKOPJE MUSEUM OF THE CITY OF SKOPJE
CVETKOVSKI
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DIGITALNI GRAFIKI – DIGITAL PRINTS
LADISLAV
CVETKOVSKILADISLAV
MUZEJ NA GRAD SKOPJE
MUSEUM OF THE CITY OF SKOPJE
MAJ
MAY
2004
CVETKOVSKI
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Tetris Tetris 2000
Probivawe Piercing 2003
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Vo erata na intenzivni tehnolo[ki i mediumski ekspanzii grafikata kako likovna disciplina go prodol`uva svoeto pove]evekovno egzistirawe, iako ve]e go nema tretmanot na isklu~itelno blagoroden zanaet. Tokmu vo ovoj period se po~uvstvuva nadminuvaweto na dilemite okolu strategijata na umno`uvawe, odnosno okolu mehani~kata reprodukcija na umetni~kiot produkt koj se soo~uva[e so negovo uni[tuvawe. No, postepeno vo tekot na vtorata polovina na 20 vek kako legitimni grafi~ki postapki se smetaat i tehnikite na zgolemeni umno`uvawa (sito pe~atot, ofsetot, fotografijata vo sklop na grafi~kiot otisok, bilbordot, kompjuterskata tehnologija itn.). Vo novoto informati~ko op[testvo grafikata ednostavno stana del od masovnite mediumi koi ja determiniraat tehnolo[kata produkcija na sovremenata umetnost. Aktuelnata izlo`ba na Ladislav Cvetkovski mo`e da ni gi otkrie ovie momenti, iako tie treba da se gledaat i vo kontekst na negovite porane[ni otisoci izvedeni vo klasi~na tehnika (suva-igla ili akvatinta), bidej]i po strukturata i po rakopisot se mo[ne bliski. Pridobivkite od digitalniot pristap, barem za nego, se olesnetata manipulacija i pogolemata sloboda pri kreiraweto. Toa mo`e da se po~uvstvuva vo migovite koga toj so pomo[ na "glu[ecot" dobiva nevoobi~aen efekt na nesovr[ena linija so koja avtorot ima namera paraleno da aludira na nesovr[enosta na ~ovekot, zadr`uvajki ja pritoa sve`inata na ra~no izvedeniot crte`. Drug va`en moment e mo`nosta za potencirawe na boenite povr[ini (koi vo poslednite grafiki crte`ot go stavaat vo senka) so cel da se nazna~i prostornata dimenzija vo koja se odviva dejstvieto, so koja se konstruira vizuelnata prikazna. Ovaa serija na grafiki, nastanati vo periodot 2000-2004, poka`uva deka tehnikata ne go ni[ti avtoroviot individualen izrazen impuls i deka vo negovite simboli-znaci e vpiena spoznajnata mo] na sopstvenata epoha. Promenite se sodr`ani vo virtuelnite i simulaciski priodi koi otslikuvaat specifi~ni vizuelni do`ivuvawa, [to, pred sé, se dol`i na negoviot deceniski prestoj pred kompjuterskiot monitor, koj na nekoj na~in stanuva negova treta raka. Ovaa pozicija e proizlezena od negovite sekojdnevni rabotni obvrski kako grafi~iki dizajner, no i kompjuterskite igri koi go voveduvaat vo reminiscentnite metafori na bezvremenosta. Seto ova predizvikuva odreden psiholo[ki gr~ koj[to se nasetuva pri vnimatelnoto sledewe na skoro sekoj grafi~ki primerok. Ottuka ovie relativno kompleksni strukturi pove]e go odrazuvaat emotivnoto reagirawe vo odreden moment od
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negoviot odnos so programite, zanemaruvaj]i gi racionalnite analizi na sozdadenata sostojba. Toj, kako [to veli samiot, e opsednat so ona [to sekojdnevno go opkru`uva, so ona [to mu se slu~uva (postojani kontakti so lu\e, so segmentirani informacii, kontakti so drugite umetnosti…). Cvetkovski ovie slu~ki gi memorira kako citati za podocna da gi odrazi kako znak, boja, refleksija. Vsu[nost, obi~no dominira eden kadar (mo`e da se protolkuva i kako stopiran, "zamrznat" kadar od nekoja grafi~ka igra) koj[to naj~esto se povtoruva za da se postigne dinami~en ritam, potenciran i so intenzivniot kolorit. Znakot e rezultat na edno pronao\awe na acija so eti~ki impuls. Znakovnoto dejstvie e naso~eno kon emotivnoto raspolo`enie na umetnikot [to podrazbira prisutnost na odredena metafori~nost vo likovniot jazik koja[to e upatena kon metafizi~kiot kontekst na gletkata. Vo ovie grafiki sozdadeni so pomo[ na kompjuterot (koj[to se smeta za legitimna zanaetska alatka) plasti~kite, odnosno semanti~kite elementi opstojuvaat kako izolirani, samostojni estetski kategorii, kategorii ~ie zna~ewe i funkcija doprva treba da izgradat samostojni celini vo recepcijata. Tie sodr`at poedine~ni zna~ewa, pa sepak se vklopuvaat i vo razmisluvawata deka tie se simboli na t.n. “simulacionisti~ka estetika”, istovremeno i na konceptite na virtuelnata realnost. Dr`ej]i se za ovie principi toj zna~itelno gi odbegna zamkite na studenite kompjuterski efekti koi ~esto znaat da odvedat kon popularnata dekorativnost. Agresivnosta na tehnikata (za koja Cvetkovski pi[uva vo svojot magisterski trud: "Digitalnoto - predizvik vo grafikata", 2003) toj ja smiruva so racionalizacija na ~inot na kreacijata. Toa donekade mo`e da né upati kon do`ivuvaweto na negovoto tvore[tvo kako praktika na eden klasi~en, racionaliziran pristap koj nastojuva vo predizvikot na ogromniot broj permutaciski mo`nosti da ostvari ili izgradi nekoi ramki vo koi ]e bide mo`no da se nasetat relaciite so klasi~niot medium. Na krajot, interesno e da se odbele`i deka negovite dela ja imaat mo`nosta da se distribuiraat po[iroko, preku internet, so [to grafi~kiot (multi)original ili egzistencijata na grafi~kata ideja i ne mora da go ima statusot na izlo`en ili otpe~aten eksponat. Ovaa mo`nost doveduva do zajaknata komunikativnost i potencirawe na relacijata avtorgleda~-avtor.
Marika Bo~varova Plavevska
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The Frog 2001
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Ana Anna 2001
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In the age of intense technological and media expansions the graphic art as an artistic discipline proceeds with its centuries long existence, although it has no more the treatment of an exclusively
noble artistry. In this period exactly occurred the overcoming of the dilemmas considering the strategy of multiplying, that is, the mechanical reproduction of the art product that is facing its extinction. But, gradually, in the course of the second half of the 20th century, other graphic procedures
gained the status of legitimate techniques, such as the one of enlarged multiplying (the silk screen, the off-set print, the photography as part of the graphic print, the billboard, the computer technol-
ogy, etc.). In the new informatic society the graphic art simply became part of the mass media that determine the technological production of the contemporary art.
The actual exhibition of Ladislav Cvetkovski can reveal these moments, although they should also
be perceived in the context of his earlier prints made in classical technique (dry point and aquatint), since they are very close, both by the structure and the language. The achievements of the digital approach, at least for him, consist of the easier manipulation and the greater freedom in the cre-
ation. It can be felt in the moments when, by using the mouse, he gets the unusual effect of an imperfect line which is meant to allude to the imperfection of man, while at the same time it retains
the freshness of a hand-made drawing. Another important moment is the possibility of pointing out the painted areas (shading the drawing in his latest graphic prints) in order to emphasize the spatial dimension in which the action goes on and which composes the visual story.
This series of graphics, made in the period from 2000 to 2004, shows that the technique does not
annihilate the artist's individual expressive impulse and that his symbols-signs include the cognitive power of his own epoch. The changes are included in the virtual and simulation approaches that
reflect specific visual experiences, which is, most of all, due to his decade long stay before the computer monitor which, in a way, became his third hand. This position proceeds from his everyday
working assignments as a graphic designer, but also from the computer games that introduce him into the reminiscent metaphors of the timeless. All this creates a certain psychological cramp that is felt in the careful examination of almost every graphic print. Therefore, these relatively complex structures rather reflect his emotional reaction in a certain moment than his attitude towards the
programs, ignoring the rational analysis of the conceived condition. As he himself says, he is
obsessed with the everyday surrounding, with the things that are happening (frequent contacts with
people, with segmented information, contacts with the other arts...). Cvetkovski memorizes these
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events as quotations and later he shows them as a sign, a color, a reflection. Actually, there is usually one frame that dominates (which can be understood as a freeze frame from a graphic game)
and it most often repeats in order to acquire the dynamic rhythm, pointed out by the intense col-
ors. The sign is a result of a discovered narration with an ethical impulse. The effect of the sign is directed towards the emotional mood of the artist which shows the presence of certain metaphoric
feature in the artistic language that is directed towards the metaphysical context of the image. In these graphic prints made by means of the computer (that is considered a legitimate artisan tool)
the plastic, that is, the semantic elements exist as isolated, independent esthetic categories whose
meaning and functioning are about to create independent entities in the reception. They contain
particular meanings, yet they conform both to the attitudes that treat them as symbols of the so called "simulation esthetics", and to the concepts of the virtual reality. Holding to these principles,
he managed to avoid the traps of the cold computer effects that often lead to popular decorativeness.
Cvetkovski calms down the aggressive technique (which he refers to in his M. A. thesis "The Digital - A Challenge for the Graphic Art" 2003) with the rationalization of the act of creation. To some extent, it leads to experiencing his art as a practice of a classical, rationalized approach and amidst
the challenge of the huge number of permutation possibilities it tends to realize or create certain frames which would help us feel the relations with the classical medium.
Finally, it is interesting to point out that his works have the option to be distributed widely via the
Internet, which does not mean that the graphic (multi)original or the existence of the graphic idea must necessarily have the status of a displayed or printed exhibit. This option leads to a stronger communication possibility and to the emphasis of the relation artist-viewer-artist. Marika Bocvarova Plavevska
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Avtoportret Self-portrait 2002
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Tragi Traces 2000
Proboduvawe Puncturing 2000
Rastaman Rastaman 2001
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Ritam Rhythm 2003
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Senki Shades 2002
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Vibracii Vibrations 2003
Ogledalo Mirror 2002
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Dopirawe Touching 2003
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Nivoa Levels 2003
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Nina Nina 2003
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Bezizlez Death End 2004
Tanc Dance 2003
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Klonirawe Cloning 2004
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Spirali Spirals 2004
Yid Wall 2004
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LADISLAV CVETKOVSKI e roden 1965 g. vo Skopje. Vo 1990 g. diplomiral na oddelot za grafika i grafi~ki dizajn na Fakultetot za likovni umetnosti vo Skopje vo klasata na prof. Dimitar Malidanov. Kaj istiot profesor 2003 g. gi zavr[uva i postdiplomskite studii. Od 1991 g. e ~len na DLUM u DLUPUM. Od 1990 g. Ladislav Cvetkovski osven so likovna umetnost se zanimava i so grafi~kiot dizajn. Sorabotuva so Kinotekata na Makedonija, so Muzejot na sovremenata umetnost, so Muzejot na grad Skopje i so Umetni~kata galerija Skopje, Makedonskata akademija na naukite i umetnostite kako i so drugi ustanovi i izdava~ki ku]i vo Makedonija kako i proekti za Ministerstvoto za kultura na Republika Makedonij Sobranieto na Republika Makedonija. Dizajnira proekti i za UNDP, USAID, OSCE i drugi me\unarodni institucii. Raboti na zna~ajni monografski izdanija kako dizajner i kako sorabotnik vo nivnoto izgotvuvawe. Od 1994 do 1999 g. be[e vraboten kako dizajner vo Muzejot na sovremena umetnost vo Skopje, a od 1999 g. raboti vo dizajnerskoto studio Skenpoint AD vo Skopje.
LADISLAV CVETKOVSKI was born in Skopje in 1965. In 1990 he graduated from the Department of Graphic Art and Design at the Faculty of Fine Arts in Skopje in the class of Prof. Dimitar Malidanov. In 2003 he completed the post-graduate studies with the same professor. Ladislav Cvetkovski is engaged in the fields of fine arts and graphic design. He cooperates with the Cinematheque of Macedonia, with the Museum of Contemporary Art, with the Museum of the City of Skopje and with the Art Gallery, as well as with the Macedonian Academy of Arts and Sciences and other institutions and publishing houses in Macedonia. He was engaged in the projects of the Ministry of Culture of the Republic of Macedonia, the Parliament of the Republic of Macedonia. He also designs projects for the UNDP, USAID, OSCE and other international institutions. He assisted in conceiving the graphic design of significant monographic editions. From 1994 to 1999 he worked as a designer at the Museum of Contemporary Art in Skopje, and since 1999 he's been working at the designing studio Skenpoint A. D. Skopje.
Adresa: Franklin Ruzvelt 72 / 11, 1000 Skopje tel.: +389 (0)2 3166 734; e-mail: ladislav@skenpoint.com.mk
Address: Franklin Ruzvelt 72/11, 1000 Skopje, Republic of Macedonia, Tel.: +389 (0)2 3166 734; e-mail: ladislav@skenpoint.com.mk
Samostojni izlo`bi: 2002 Kranj, Republika Slovenija, Galerija Dom 2003 Skopje, Muzej na sovremenata umetnost 2004 Skopje, Muzej na grad Skopje
Solo exhibitions: 2002 Kranj, Republic of Slovenia, Gallery "Dom" 2003 Skopje, Museum of Contemporary Art 2004 Skopje, Museum of the City of Skopje
Grupni izlo`bi: 1989 Izlo`ba na mladi slikari, Dom na ARM, Skopje 1990 7. Trienale na grafika, Bitola 1990 Esenski likoven salon, 68 makedonski avtori, mal format, Galerija Glam, Skopje 1991 3. Bienale na mladite, Muzej na sovremenata umetnost - Skopje 1992 Nova generacija na DLUM, Galerija DLUM, Skopje 1997 4.Trienale na grafiki od mal format vo {amalie, Francija 2001 Suva igla, Galerija na DLUM, Skopje
Group 1989 1990 1990 1991 1992 1997 2001
exhibitions: Exhibition of Young Painters, Army Center, Skopje Seventh Triennial of Graphic Art, Bitola Autumn Art Salon, 68 Macedonian Artists, small scale format, Gallery "Glam", Skopje Third Biennial of Young Artists, Museum of Contemporary Art, Skopje New Generation of DLUM(Association of Fine Art Artists of Macedonia), DLUM Gallery, Skopje Fourth Triennial of Small Scale Graphic Prints, Chamallier, France DLUM Gallery (Graphic Workshop "Dry Point"), Skopje
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Izdava~: Muzej na grad Skopje Odgovoren urednik: Klime Korobar Organizacija: Frosina Zafirovska Tekst: Marika Bo~varova Plavevska Dizajn: Ladislav Cvetkovski Prevod na angliski: Maja Haximitrova Ivanova; Podgotovka i pe~at: Skenpoint Tira`: 600 Realizacija: Muzej na grad Skopje, maj 2004 Publisher: Museum of the City of Skopje Editor-in-chief: Klime Korobar Organization of the exhibition: Frosina Zafirovska Text: Marika Bocvarova Plavevska Layout: Ladislav Cvetkovski Translation: Maja Hadzimitrova Ivanova Prepress and print: Skenpoint Copies: 600 Realisation: Museum of the City of Skopje, May 2004
ISBN 9989-156-02-6
Ministerstvo za kultura Ministry of Culture
Izlo`bata i katalogot se realizirani so podr[ka na Ministerstvoto za kultura na Republika Makedonija The exhibition and the catalogue are supported by the Ministry of Culture of the Republic of Macedonia
Katalogot e realiziran so podr[ka na Skenpoint The catalogue is realized with the support of Skenpoint
LADISLAV
CVETKOVSKILADISLAV
MUZEJ NA GRAD SKOPJE MUSEUM OF THE CITY OF SKOPJE
CVETKOVSKI