Скопје Одраз
несовршен одраз IMPERFECT REFLECTION
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
вовед INTRODUCTION
INTRODUCTION
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The Installation work will emphasize on the notion of space as an arena of public interaction and engagement and acting as a magnet to draw potential viewers from different directions to interact with the Art work. As the visitor approaches the Installation it will immerse them in a World of unpredictability and misperception. The depth of the Art work seeks to uncover and reveal our own understandings of our readings and misreading’s of Skopje, Macedonia. The culturally rich and vibrant city of Skopje presents one with unprecedented insight into the political, religious, and historical contrasts which co-exists in Macedonia. Our aim was to represent all of the above in One piece, which will make the viewer to question the piece through imagination and focus of understanding. The aim of the project was to try and replicate the contrasts into a physical piece to represent the idea’s of fragmentation and distortion.
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
Историја HISTORY
BACKGROUND
The history of Skopje, Macedonia, goes back to at least 4000 BC. The settlement appears to have been founded around then by the Paionians, a people that inhabited the region. It became the capital of Dardania, which extended from Naissus to Bylazora in the second century BC. Roman expansion east brought Skupi under Roman rule on the eve of the 1st century AD. When the Roman Empire was divided into eastern and western halves in 395 AD, Skupi came under Byzantine rule from Constantinople. During much of the early medieval period, the town was contested between the Byzantines and the Bulgarian Empire. It served as Bulgarian capital from 972 to 992. In 1189 the town was part of the Serbian realm later becoming the capital of the Serbian Empire. In 1392 the city was conquered by the Ottoman Turks and they named the town Üsküb. The town stayed under Ottoman rule for over 500 years. In 1913, after the Balkan Wars, Skopje became part of Kingdom of Serbia, and after the First World War the city became part of the newly formed Kingdom of Serbs, Croats and Slovenes (Kingdom of Yugoslavia). In the Second World War the city was conquered by the Bulgarian Army, which was collaborating with the Nazi Germans. In 1944 it became the capital city of Democratic Macedonia (later Socialist Republic of Macedonia), which was a federal state, part of Democratic Federal Yugoslavia (later Socialist Federal Republic of Yugoslavia). The city developed rapidly after World War II, but this trend was interrupted in 1963 when it was hit by a disastrous earthquake. In 1991 it became the capital centre of independent Macedonia.
IMPERFECT REFLECTIONS oF skopje
(t-b) Members of the US Army in Skopje, Yugoslavia, following the 1963 earthquake in 1963. The Church of the Nativity of the Theotokos
култура CULTURE
BACKGROUND
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Skopje was mainly a Muslim city until the 19th century, when large numbers of Christians started to settle there. According to the 2002 census, Macedonians were the largest ethnic group in Skopje, with 338,358 inhabitants, or 66% of the population. Then came Albanians with 20%, Roma people with 4%, and roughly 8000 people did not belong to any of these groups. Skopje is home to the largest cultural institutions of the country, such as the National and University Library “St. Kliment of Ohrid”, the Macedonian Academy of Sciences and Arts, the National Theatre, the National Philarmonic Orchestra and the Macedonian Opera and Ballet. The city has several theatres and concert halls. The Univerzalna Sala, seating 1,570, was built in 1966 and is used for concerts, fashion shows and congresses. Skopje has 21 secondary schools; 5 of which serve as general highschool gymnasiums and 16 vocational schools.The city is also host to several higher education institutions. Skopje’s citizenry is generally more educated than the rest of the country. Skopje is the largest media center in Macedonia. Of the 818 newspapers surveyed in 2000 by the Ministry of Information, over 600 had their headquarters in Skopje. The daily Dnevnik, founded in 1996, with 60 000 runs per day is the most printed in the country. The city is home of the studios of Macedonian Radio-Television (MRT), the country’s public radio and television.
(t-b) People on Macedonia street, the main pedestrian axis of the city. The Imperial Tobacco plant
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
ПОЛИТИКА POLITICS
BACKGROUND
Macedonia: Republic
Former Yugoslav of Macedonia
Macedonia is a Country in the Balkans peninsula in South East Europe. It is one of the successor states of former Yugoslavia, from which it declared its independence peacefully, the only country to do so in 1991. After the Independence, Greece had a dispute with Macedonia regarding the new Name change as Greece already had a region called ‘Macedonia’. This dispute gathered momentum overtime, as Greece was already a member state of both EU and NATO Macedonia wasn’t able to join due to the VETO vote from Greece, however only recently both Greece and Macedonia have agreed to change the name to ‘The Republic Of North Macedonia’ by this, Greece would allow Macedonia join both EU and NATO. Internal Divisions and Conflicts
The deep internal conflicts and divisions co-exist between the ruling government and opposition parties. As 25% of the population are ethnic Albanians, they feel the current government are oppressing their views, rights and opinions. Hence the recent referendum held in Macedonia to adopt the new name change from ‘Macedonia’ to ‘The republic of North Macedonia’ only 36% of the population casted their votes and failed as the requirements was minimum 50%. The opposition political parties boycotted the vote because of the political conflicts.
IMPERFECT REFLECTIONS oF skopje
(t-b) (t-b) Protesters in Macedonia and Greece
тангe TANGE
BACKGROUND
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Skopje suffered a disastrous earthquake on the 26th July 1963; within 17 seconds 70% of the city’s urban fabric was destroyed and 1000 people were dead. Yugoslavia was more permeable internally and externally than the eastern block leading to multi-polar support from eastern and western nations alike. This reconstruction support may have bought unity and Yugoslav and worldwide solidarity, reducing tension and enhancing interdependence (Lozanovksa, 2012). The Polish/Greek master-planners left the city centre to be planned individually. The UN led competition was won by Kenzo Tange (60%) and Mischevik and Wenzler, 40%; a collaboration started between them (Lozanovksa, 2012). A major feature of the proposal is the monumental, ‘city wall’; a ring of buildings; inscribing a centralised geometry. The river Vardar is flanked by public buildings reinforcing a east-west axis with the unrealised megastructure, the ‘city gate’ at it’s eastern end. The eastwest and the north-south axis meet at a new square. The 2 axis and megastructures dismantle the rigid former city; the proposal opened the city along linear axis (Lozanovksa, 2012)(Kultermann, 1989). The ‘City Wall”, gives shape to the city. Tange aimed for the wall and city gate to be “Protospaces”, to be shaped and changed by inhabitants. Tange saw his structures as a bridge between progress and humanity, a dynamic, informal interpretation of spatial structure and image. The wall is in constant tension between an architectural expression of strength and the local urban character. Its scale and presence was important in Tange’s eyes to embed hope within
(t-b) Skopje Earthquake 1963, Aftermath (Alchetron, 2018) Tange’s competition entry 1965 (Lozanovksa, 2012) City wall in context (Lozanovksa, 2007)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
тангe TANGE
BACKGROUND
Skopje’s residents for renewal and recovery allowing for the interesting juxtaposition between humanity and scale.
The wall shares a visual language with the medieval walls of the Kale fortress on the opposite river bank, mirroring histories, but contrasting the idea of defensive control with an optimistic idea of a structure for living, organised around human dwelling and interactions. A wall of humanity in the face of disaster, with humanity as a defence, mirroring the multi-polar support for reconstruction. The ‘city wall’ was to act as a “cooperative social spatial structure” (Lozanovksa, 2012) translated into the urban fabric (Lozanovksa, 2012) (Kultermann, 1989).
Other parts of the vision included green buffers alongside major roads and linking the city wall green buffers with the riverside green spaces and other green spaces. The architecture of the wall itself ‘Metabolist’, with concrete, white tile and terracotta angular detailing and materiality. Contrasting with the scale of the city yet referencing its character as well; for example with overhanging upper storeys reflecting Ottoman architecture. Unrealised aspects of the proposal including large parts of the “city gate” and road network have dampened parts of Tange’s vision but overall the proposal was ideologically structured to bridge divides and bring hope, optimism and a sense of renewal to Skopje after the earthquake (Lozanovksa, 2012) (Kultermann, 1989).
IMPERFECT REFLECTIONS oF skopje
(t-b) Plan for the reconstruction of Skopje (Moleskine, 2011) Kale Fortress (Exploring Macedonia, n.d.)
архитектура
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BACKGROUND
ARCHITECTURE Skopje’s architectural composition is rich and diverse, the city’s history of being occupied and controlled by different peoples and empires for millennia. A significant part of the urban fabric, specifically to the north of the Vardar is Ottoman, focused on the old baazar, many mosques, inns, and shops line the streets, the Ottoman era Kale Fortress and stone bridge have become symbolic of the city (Haemus, 2018). There is little architectural expression which is obvious in the city apart from the Ottoman; before a handful of beaux-arts buildings from the early 20th century. As previously mentioned a significant amount of architecture within Skopje is postearthquake, concrete mega-structures rising in hopes of renewal including works by Tange, Konstantinov and Mušič (Stojanovich Fox, 2015). The post earthquake architecture of Skopje was diverse, often prefabricated and slightly hap-hazard. The visions led out in masterplans including Tange’s 1965 city centre masterplan were large, costly and complicated so, even by the time Yugoslavia collapsed, only a few of the masterplan’s elements were constructed and the all-encompassing metabolist city dream was never realised (Lozanovksa, 2012). Little of relevance occurred within the architectural discourse after Yugoslavia’s collapse until the nationalist populist government of NIkola Gruevski embanked on the ‘Skopje 2014’ project in 2010; a kitschy regeneration of the city centre with hundreds of new sculptures and neoclassical buildings, introducing new histories, memories and typographies; trying to cast a (t-b) Sultan Murad Mosque (Simeonovski, 2012) Stone Bridge, Skopje (Svik, 2007)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
архитектура ARCHITECTURE
BACKGROUND
new national identity, focused on ancient Greek Macedonia into a physical form.; rejecting the less glamorous Slavic background of the country increasing the tensions with Greece and tensions between the Albanian and Macedonian ethnicities ; highlighting the fragmented national discord and rejecting any attempts to bridge divides, a contrast with the ideals of unity and optimism within Tange’s 1965 master-plan (Gillet, 2015).
The ‘Skopje 2014’ project cost an estimated €200-500m; money one of Europe’s poorest countries can illafford; especially for what was primarily a vanity project with construction of statues, museums and government headquarters. There has been numerous reports that the project was principally a money laundering effort, the government has gifted contracts for the project to it’s friends and families at over-inflated prices (Hatherley, 2018). The recently elected new government has paused the regeneration project, but has the damage been done? Have the tensions been increased? And how can Macedonia make sure future nationalist governments respect the architectural diversity of the city in the future (Marusic, 2017).
IMPERFECT REFLECTIONS oF skopje
(t-b) The Central Post Office of Skopje: stage 1 (Janko Konstantinov, 1974) (Amanito, 2018) The Museum of Archaeology in Skopje (Local Hero, 2013).
ДИЗАЈНИ ИДЕИ
DESIGN IDEAS
Each thread of the installation will see everyday objects such as broken picture frames, pieces of concrete. The concrete part of the installation will be place on the floor to represent the new beginning through architecture by Kenzo Tange’s regeneration of the inner City of Skopje after the devastating earthquake in 1963. Along with the Installation, a video will also be projected onto the Installation to create an illusion of imperfection and fragmentation.
DEVELOPMENT
For the development stage of the process, as a group we focused on the core issues facing Skopje. The past four decades Skopje and Macedonia in general has been through various different stages in the political aspect of the spectrum. This has caused division and tensions between ethnic political parties against the ruling governments. For our representation of the installation we wanted to focus on the divisions which exist both politically and ethnically in Macedonia especially Skopje. The idea of ‘Chaos’ we reckoned was a strong point to start and develop the idea further.
IMPERFECT REFLECTIONS oF skopje
(t-b) Initial Installation Concept design (Goacher, 2018)
процес
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DEVELOPMENT
PROCESS C
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For our initial concept installation design, we started off analysing and experimenting with various materials from Wooden broken frames, to wire mesh. Our preliminary idea developed through trial and error, the notion of hanging pieces of wooden frames and sets from a wire mesh of the ceiling creates a dramatic effect to the installation which allows the viewer to interact with the Art work rather than just ‘viewing’. As we focused on the theme of ‘unpredictability’, we explored the idea of hanging each piece of broken frames on a translucent wire to represent our own idea of the city of Skopje. D
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The development of the installation varied from stage to stage of the process. The process evolved around the decisions surrounding the installation in terms of choosing the right materials, size, scale and location. The first major growth of the installation was when we hanged pieces of the broken frames tied to translucent wire to the ceiling to give us an idea of how we could possibly build and represent the Art installation. Concept
Model
Our first concept model of the Installation allowed us to further develop the idea in terms of scale and materiality. The photograph on the right is our initial model scale 1:1 which really allowed us to really feel and see how the final Installation could be.
(t-b) Initial Installation Concept design (Ahmadzai, 2018)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
процес
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DEVELOPMENT
PROCESS Concept After finalising some initial concept ideas for the installation, we began to build a one to one model of our final idea. This was to help us understand and visualize our installation and to further investigate the development. The image on he left, shows pieces of broken wooden frames which represents the division, chaos and disunity in Skopje between the Christians, Muslims and ethnic groups. The broken frames and held by a translucent fishing wire attached to a metal mesh from the ceiling. Building the concept one to one model, allowed us to experiment more by using different materials to represent different aspect and points of Skopje in our installation. Materials The key materials which we focused on four installation varied from broken wooden picture frames to concrete casts. The idea of using broken frames to represent time and decay was essential. Some of the broken frames we purposely burnt to give the rich idea of explosion and smell of decay and time passes by. The use of concrete casts was to represent the Architectural masterplan for the Inner city by the well renowned Japanese architect Kenzo Tange.
(t-b) Initial Installation Concept design (Group Model, 2018)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
процес
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PROCESS
IMPERFECT REFLECTIONS oF skopje
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
процес PROCESS
DEVELOPMENT
The development of the installation progressed each week though the studio tutorials with the tutors. The image on the right, visualizes the development of our idea and installation as the development of Kenzo Tange’s Architectural masterplan to reflect the broken frames hanging of the ceiling. The key idea for the installation was to present and visualize how Tange’s concrete blocks will be represented once a projection of videos is projected onto the Installation which will create fragmented shadows in the room.
IMPERFECT REFLECTIONS oF skopje
(t-b) Initial Installation Concept design (Yen, 2018)
преседани PRECEDENTS
DEVELOPMENT
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Cornelia
Parker
The ambiguity of associating Architecture with sculptures is at times difficult to Master perfectly. Artists such as Cornelia Parker, has achieved this by exploring large scales often off-site specific installations to allow users to really interact and visualize with the Art work. Her engagement with fragile materials such as wood, mirror, threads encompasses the apocalyptic tone to much of her work. Much of her ideas and exemplary to fundamentally understand the usage and combination of materials to present a piece of Art work lost in Space intentionally. As a group, we drew our inspiration from her stylistic tone of work by using a combination of materials, space, light and shadows (RA250, 2009). Sarah
Sze
To continue our process and understanding of expressional art works, we stumbled across the Work of Sarah Sze. Sze’s Work attempts to direct and perfect through proliferation of everyday objects and information in contemporary life. The understanding of incorporating elements of paintings, sculptures, and architecture within her work, she investigates the true values of each object to explain and explore the definition of each element within her installation
(t-b) Neither From Nor Towards (Parker, 2012) Triple Point (Planetarium) (Sze, 2004)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
преседани PRECEDENTS
DEVELOPMENT
Phyllida
Barlow
Barlow (1944-) sculpts abstract, large scale, tactile and precarious works that aim to reflect contrast and thought. She redevelops found objects in unforeseen creations, transforming the spaces. Using polyurethane, plaster, cement, timber and strewn ribbons, bright pom-poms and wall-mounted, colourful fabric cloaked concrete slabs; her work is atmospheric.
Barlow’s looks into several ideas including the intersection of colour theory, affect, sensory experience and total immersion. Informed by the antimonument and suspension, Barlow states her work is ‘Suspended like they’re unsure where they’re meant to be’, this is in line with the ethnic and political contrasts and issues in Skopje (Higgins, 2017)(Julia, 2014). Rachel
Whiteread
Rachel Whiteread, makes the air that surrounds an object the subject of her work. The unseen space. Whiteread has reinvented the traditional process of cast sculpture; commenting on themes of absence and loss.
Her works are based on the conceptual idea of absence; dealing with psychological space; Evoking absence and memory, Some of her work’s sheer scale such as the Holocaust Monument in Vienna allow for a social and political commentary within her work. Repetition is key, in her series of hot water bottles, or translucent resin cubes, the different imperfections and colour changes create variety and a sense of time (WardeAldam, 2017)(Gagosian, 2018).
IMPERFECT REFLECTIONS oF skopje
(t-b) Phyllida Barlow, installation view of untitled: 11 awnings, 2013 (Des Moines Art Center, 2013) Rachel Whiteread, Untitled, 2010 (Mortelmans, 2017)
концепт
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INSTALLATION
CONCEPT As shown within the previous pages, the current political discourse within Skopje and Macedonia is highly fragmented and political, ethnic and historical tensions are highly evident. This can be argued is in contrast to the optimistic, unifying ideals of Tange’s post-earthquake master-plan. Our installation conceptually echoes this. From the mock ‘city wall’ of the installation’s centre and the ordered, neat central hangs reflecting the optimistic 1965 master-plan; towards the outer disordered hangs, reflecting the fragmented ethnic tensions of today. The runaway, unplanned and unmethodical nature of today’s politics stemming from past deliberate actions is also reflected with the deliberate interaction of the viewer with the ordered ‘city wall’ causing unintentional consequences within the outer hangs.
E
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(t-b) Conceptual Approach (Goacher, 2018)
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
финале FINAL
INSTALLATION IMPERFECT REFLECTIONS oF skopje
финале
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INSTALLATION
FINAL
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
финале FINAL
CONCLUSION IMPERFECT REFLECTIONS oF skopje
библиографија
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BIBLIOGRAPHY Bibliography Gagosian. (2018). Rachel Whiteread | Gagosian. [online] Available at: https://gagosian.com/ artists/rachel-whiteread/ [Accessed 16 Oct. 2018]. Gillet, K. (2015). How Skopje became Europe’s new capital of kitsch. The Guardian. [online] Available at: https://www.theguardian.com/ travel/2015/apr/11/skopje-macedonia-architecture-2014-project-building [Accessed 13 Oct. 2018]. Haemus (2018). Ottoman heritage (Skopje) | HAEMUS | Center for scientific research and promotion of culture. [online] Haemus.org.mk. Available at: http://haemus.org.mk/ottoman-heritage-skopje/ [Accessed 13 Oct. 2018]. Hatherley, O. (2018). Trans-Europe Express : Tours of a Lost Continent. London: Penguin Books, Limited, pp.233-43. Higgins, C. (2017). Bish-bash-bosh: how Phyllida Barlow conquered the art world at 73. [online] the Guardian. Available at: https://www. theguardian.com/artanddesign/2017/may/09/ bish-bash-bosh-how-phyllida-barlow-conqueredthe-art-world-at-73 [Accessed 16 Oct. 2018]. Julia, C. (2014). Phyllida Barlow: dock | Tate. [online] Tate. Available at: https://www.tate. org.uk/whats-on/tate-britain/exhibition/tate-britain-commission-2014-phyllida-barlow/exhibition-catalogue/essay [Accessed 16 Oct. 2018]. Kultermann, U., Tange, K., Mühll, H., Tange, K. and Tange, K. (1989). Kenzo Tange. Barcelona: G. Gili. Lozanovksa, M. (2012). Kenzo Tange’s Forgotten Master Plan for the Reconstruction of Skopje. Fabrications, [online] 22(2), pp.140-163. Available at: https://doi.org/10.1080/10331867.2 012.733159 [Accessed 13 Oct. 2018]. Marusic, S. (2017). Macedonia’s New Govt Halts Skopje 2014 Makeover. [online] Balkaninsight.com. Available at: http://www.balkaninsight.
com/en/article/macedonia-s-new-govt-to-stopskopje-2014-revamp-05-30-2017 [Accessed 13 Oct. 2018]. RA250 (2009) Corneila Parker RA. Available at: https://www.royalacademy.org.uk/art-artists/ name/cornelia-parker-ra (Accessed: 12 October 2018). Stojanovich Fox, V. (2015). Skopje Brutalno: The Legacy of Brutalism in Macedonia’s Capital. [online] Retrograd. Available at: http://www.retrograd.org.uk/2015/05/skopje-brutalno-the-legacy-of-brutalism-in-macedonias-capital/ [Accessed 13 Oct. 2018]. Warde-Aldam, D. (2017). Rachel Whiteread’s conspicuous absences | Apollo Magazine. [online] Apollo Magazine. Available at: https://www. apollo-magazine.com/rachel-whitereads-conspicuous-absences/ [Accessed 16 Oct. 2018]. Images Alchetron (2018). Skopje Earthquake 1963, Aftermath. [image] Available at: https://alchetron. com/1963-Skopje-earthquake [Accessed 27 Sep. 2018]. Amanito, V. (2018). The Central Post Office of Skopje: stage 1 (Janko Konstantinov, 1974). [image] Available at: https://www.theguardian. com/cities/gallery/2018/sep/06/modernist-architecture-skopje-macedonia-in-pictures [Accessed 13 Oct. 2018]. Des Moines Art Center (2013). Phyllida Barlow, Installation view of untitled: 11 awnings, 2013. [image] Available at: https://www.desmoinesartcenter.org/exhibitions/pbarlow-scree [Accessed 16 Oct. 2018]. Exploring Macedonia (n.d.). Kale Fortress, Skopje. [image] Available at: http://www.exploringmacedonia.com/fortress-kale.nspx [Accessed 27 Sep. 2018]. Goacher, R. (2018). Conceptual Approach. [Mixed Media].
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap
библиографија
BIBLIOGRAPHY Local Hero (2013). The Museum of Archaeology in Skopje. [image] Available at: https://commons. wikimedia.org/wiki/File:MuseumofArchaeologySkopje.jpg [Accessed 13 Oct. 2018]. Lozanovksa, M. (2007). The city wall in context. [image] Available at: https://doi.org/10.1080/103 31867.2012.733159 [Accessed 13 Oct. 2018]. Lozanovksa, M. (2012). Tange’s competition entry 1965. [image] Available at: https://doi.org/ 10.1080/10331867.2012.733159 [Accessed 13 Oct. 2018]. Moleskine (2011). Plan for the reconstruction of Skopje. [image] Available at: http://architecturalmoleskine.blogspot.com/2011/10/metabolist-movement.html [Accessed 13 Oct. 2018]. Mortelmans, J. (2017). Rachel Whiteread, Untitled, 2010. [image] Available at: https://curiator. com/art/rachel-whiteread/14 [Accessed 16 Oct. 2018]. Parker, C. (2017) Neither From Nor Towards. Available at: https://www.scoop.it/t/art-installations/?&tag=Cornelia+Parker (Accessed: 12 October 2018). Simeonovski, K. (2012). Sultan Murad Mosque. [image] Available at: https://commons.wikimedia.org/wiki/File:%D0%A1%D1%83%D0%BB%D1%82%D0%B0%D0%BD-%D0%BC%D1 %83%D1%80%D0%B0%D1%82%D0%BE%D 0%B2%D0%B0_%D1%9F%D0%B0%D0%BC%D0%B8%D1%98%D0%B0_%D0%B2%D 0%BE_%D0%1%D0%BA%D0%BE%D0%BF%D1%98%D0%B5_3.jpg [Accessed 13 Oct. 2018]. A1%D0%BA%D0%BE%D0%BF%D1%98%D0%B5_3.jpg [Accessed 13 Oct. 2018]. Svik (2007). Stone Bridge, Skopje. [image] Available at: https://commons.wikimedia.org/ wiki/File:Stone_bridge_in_Skopje.jpg [Accessed 13 Oct. 2018].
IMPERFECT REFLECTIONS oF skopje
Sze, S. (2004) Triple Point (Planetarium). Available at: http://artobserved.com/2014/08/new-yorksarah-sze-triple-point-planetarium-at-the-bronxmuseum-of-arts-through-august-24th-2014/ (Accessed: 12 October 2018).
несовршен одраз IMPERFECT REFLECTION
Скопје
ROB GOACHER ABDULHAQ AHMADZAI Shook Yen Yap