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System-s (2002)

The exhibition "System-s" by Goce Nanevski is a kind of installation composed of 19 elements of several sculpture entities made in the period 1999 - 2002. They are arranged in a square basis within which they form a mutual spatial tension.

 The artistic interest of Nanevski is mainly aimed towards the wide area of program blocks of the late Modernism. His  tendency towards reduced, geometricized  forms, close to the minimalism is obvious. His works tend to reach a strong presence in space influencing the viewers with the primal features of the forms. This metaphorical accumulation of a four years work is basically provoked (and provided) by the mobile character of the works. They seem to be in a constant tendency of getting into new inter-relations, no condition satisfies them, their wholeness lies in the potential to enable new experiences depending on the space and their new mutual game.

It is interesting that the works of this young artist bear, probably his involuntary desire for reconciliation or for mutual coexistence of these two, normally, contradictory principles - the horizontal plastic and the totemic modus. In this case we have the horizontal (floor) disposition of the sculptures, a distinction of his earlier phase and the dominance of the vertical in the works from his latest period. In the first case the mobile principle tends to realize itself by conquering the floor surface, it tends to involve the audience into the newly created space, it is constantly in relation to the architecture etc., while in the second case the vertical is the pivot around which the entire plastic occurrence is taking place, both of the expression and the perception. These are two contradictory conditions - to be in something and to circle around something. Nanevski often exhibits his works from these periods as independent achievements, but for this exhibition in the Museum of the City of Skopje he made a happy solution, considering all his works as elements of which an exhibition can be composed, but not as a collection of several works but as a form of spatial solution in which the elements are in a total dependent relation. The impression is that the mobile character of the works in both artist's phases is the supporting element that makes possible all these seemingly unrelated links.

Although this is out of the context of the previous order, we cannot avoid noting that this young sculptor has an affinity towards skilled work. The influences of the minimalism, that presupposes an industrial processing of the material in (not only) his case is realized as an achievement that requires of the artist skill and patience. Nanevski is on his own territory when surrounded by the material and the tools for its processing. The fascination by them determines to a large extent the expression and the concept of his works.

Lazo Plavevski, curator

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