Catalog from the international exhibition organized by
Museum of Contemporary Art – Skopje
27.11.2025 – 01.03.2026
Curated by:
Mira Gakјina and Jovanka Popova
Represented artists:
Forensic Architecture
Denise Ferreira da Silva & Arjuna Neuman
Durmish Kjazim
Jumana Manna
The Palestinian Museum
Zorica Zafirovska
Available free PDF download: All That We Have in Common: Institution That Breaths
The ever active Educational Department under the guidance of curator Bojana Janeva, joined by artists participating in some of the current exhibitions of the Museum of Contemporary Art Skopje, organized a series of activities in December, bringing together art, museum programs, and activism.
On December 13, a joint action was carried out – landscaping the path to the MSU with “The Gardener” as part of a broader campaign, “Institutional Gardens” by artist Zorica Zafirovska. The work initiative was followed by the “MSU Guide” by curator Bojana Janeva through the exhibitions The Land That Constantly Rethinks curated by Rick Dolfijn and “Everything We Have in Common,” curated by Mira Gaćina and Jovanka Popova at the MSU.
Photo: Maja Janevska-Ilieva
On December 15, a walk through the exhibitions “The Land That Constantly Rethinks” and “Everything We Have in Common” was realized at the MSU with students from the 9th grade, under the guidance of teacher Kristina Pavloska.
The students also actively participated in the educational workshop on making seed balls with Dimitar Samardziev from the “Green Ark” organized as part of a larger campaign by the artist Zorica Zafirovska, within the framework of the exhibition “Everything We Have in Common”.
The workshop is intended for children and adults, who will learn about the process of their making and their usefulness in planting flowers, herbs and trees in different terrain regions and seasons. Participants will learn how to combine clay, seeds and fertilizer to create balls, which will help in the restoration of flower fields and meadows. By making and sharing them, participants are encouraged to become dedicated guardians of the environment.
Photos: Zorica Zafirovska
THE LARGE GLASS 39/40, 2025
* Published in the English language
CONTENT
INTRODUCTION
RICK DOLPHIJN
06_ Thinking Earth:
RICK DOLPHIJN
in conversation with
MAJA AND RUBEN FOWKES
12_ Assemblages of Biocultural Enunciation: On Ferran Lega’s Thymus Vulgaris
CHRISTIAN ALONSO
18_ Words Cannot Capture the Swamp: How to Re-sense Swamp Life?
IRENA CHAWRILSKA
24_ As the Waves Water and Land… Thinking with Signe Lidén’s Tidal Sense
RICK DOLPHIJN
32_ Thinking with Thawing of the Frozen Rivers
KRISTIINA KOSKENTOLA
A PROJECT IN COLLABORATION WITH MANCHU SHAMANIC COMPOSER HAN XIAOHAN
42_ The Earth as the Non-Objective World: On Sunah Choi’s Monde
ALEX TAEK-GWANG LEE
46_ The Liquid Landscape in Situatedness
TIHOMIR TOPUZOVSKI
56_ Archipelagic Thinking on Floating Watersheds and Sunk Lands
TOSHIYA UENO
66_ CONCLUSION
The Earth is Thinking All Along… A Brief Travelogue in Concepts
CHRISTIAN ALONSO, IRENA CHAWRILSKA, RICK DOLPHIJN,KRISTIINA KOSKENTOLA, ALEX TAEK GWANG LEE, TIHOMIR TOPUZOVSKI, TOSHIYA UENO
EXHIBITIONS
76_ GROUP EXHIBITION
The Earth is Thinking All Along…
96_ SOLO EXHIBITION
Ibrahim Mahama
116_ COLLABORATIVE EXHIBITION
The East Remains Possible
128_ COLLABORATIVE EXHIBITION
Weaving Worlds: Collections in Dialogue
140_ COLLABORATIVE EXHIBITION
Forms That Fly
MATTHIEU LELIÈVRE
150_ GROUP EXHIBITION
All That We Have in Common
156_ 15TH BIENNIAL OF YOUNG ARTISTS
Tommorow Began Yesteday
NADA PRLJA AND SEBASTIAN CICHOCKI
168_ GROUP EXHIBITION
An Archive of Desires as a History of the Present
KUMJANA NOVAKOVA
174_ CONTRIBUTORS
We are pleased to announce that artist Cem A. (@freezemagazine) has donated two works to the Museum of Contemporary Art – Skopje.
Floor Pieces (2025) and The Museum is Temporarily Open (2025) will become part of the museum’s permanent collection.
With this donation, Cem A. continues the dialogue initiated through his solo exhibition at MoCA Skopje — reflecting on the role of the museum as a living space of collective making, attention, and critical inquiry.
The Museum of Contemporary Art is pleased to announce that it has been awarded a grant from The Mondriaan Fund in the Netherlands. The grant funds will be used to purchase technical equipment and support production within the framework of the museum’s program activities. We are grateful to the Mondriaan Fund for their trust and support, as well as to all who contribute to the realization of our mission.
Within the MSU Skopje Interdisciplinary Program, in the last five years, several lectures were held from different fields of critical theory, art criticism, contemporary art and museology, as well as conversations and artists talks presenting the works of Macedonian and world artists.
The recorded part of that program for the museum’s video and audio archive, which has already been published on the YouTube channel and the MSU Facebook network, can also be streamed on our website, which has recently been placed in the Educational Programs section: https://msu.mk/lectures/
The new volume of The Large Glass Magazine No. 35/36 intends to provoke debates regarding the present challenges in critical museology. Triggered by the ‘MoCA Skopje’ collection in Kunsthalle Vienna in 2023, it represents an effort to return our attention to the critical approaches and ways of questioning curatorial practices, museum collections, gallery spaces, and audiences. The issue provides insights and appreciation concerning the relations between critical museums, self-reflexivity, the representation of cultural diversities, practices of decolonization, and museology in more-than-human worlds.
The contributors to this issue are Katarzyna Murawska-Muthesius, Jesus Pedro Lorente, Sonja Abadžieva, Bojana Piškur, Adam Nocek, Marija Đorgović, Fiona R. Cameron, and the collective What, How & for Whom/WHW, etc.
Еditor-in chief: Tihomir Topuzovski
Assistant editors: Ivana Vaseva and Vladimir Janchevski
Layout: Denis Saraginovski
Pages: 150
Content:
6
Katarzyna Murawska-Muthesius:
The Critical Museum Postscriptum
12
Pedro Jose Lorente:
Self-reflective Museums and (meta)Museographical
Reappraisals: The Special Case of
Museums of Contemporary Art
20
Bojana Piškur:
Some thoughts on decolonizing the art institutions
26
Marija Đorgović:
From a Critique of the Institution to a Critical Institution?
The Case of the Museum of Yugoslavia
33
Sonja Abadžieva:
At the Center of the Cyclone
38
What, How & for Whom/WHW
No Feeling Is Final. The Skopje Solidarity Collection
52
Fiona R. Cameron:
Curating and Museologies in More-than-Human Worlds
59
Research and Exhibition Project:
Landscape of Anxiety
102
Adam Nocek:
On the Architectures of Hospitality in
Agroecological Urbanisms
114
The MoCA’s exhibition
All That We Have in Common
Jovanka Popova
124
The MoCA’s exhibition
Bitter Sugar
Multimedia project by Gjorgje Jovanovik
Vladimir Janchevski and Blagoja Varoshanec
134
The MoCA’s exhibition
The Future as a Project
Doxiadis in Skopje
Jovan Ivanovski, Vladimir Deskov,
Ana Ivanovska Deskova, Kalliopi Amygdalou,
Kostas Tsiambaos, Tea Damjanovska, Mihajlo
Stojanovski and Christos Kritikos.
142
The MoCA’s exhibition
On Defragmentation as a Freeing Mental Space and
Societal Necessity
Vladimir Janchevski and Blagoja Varoshanec
The project of the fashion designer agnes b., the unique magazine point d’ironie (www.pointdironie.com/index.php) in its latest 67th edition presents the project of Leonard Hilton McGarr aka Futura, the American graffiti artist who together with Jean-Michel Basquiat, Keith Haring and Kenny Scharf in the 1980s became known for introducing abstraction within the street graffiti idiom.
Typically spread over eight pages, which are given to each artist invited by the magazine’s editor – well known Swiss curator Hans Ulrich Obrist – point d’ironie in the latest issue brings Futura’s anti-war message, as the title of his project NO GUERRA reads: “NO GUERRA is a creative presentation of concepts, individuals, places and ideas. Thanks for your anti-war thoughts…”
The magazine is printed in one hundred thousand copies and distributed free of charge to art institutions and galleries in over one hundred countries worldwide. The Skopje Museum of Contemporary Art has been the only distributor for Macedonia for more than twenty years. The museum receives the magazine in a limited edition of one hundred copies, which can be obtained in the museum shop free of charge.
Lately one of the major restoration efforts of the Collections Department and the Conservation Department of the Museum of Contemporary Art Skopje is the conservation of one of the significant works in the museum’s international collection, the painting Virtue in Necessity by the recently deceased Italian artist Gianfranco Baruchello (1924 – 2023).
The painting is part of a large donation of works of art by several Italian artists, donated in the mid-sixties, as an expression of solidarity with the Macedonian capital, the city of Skopje, which in 1963 was struck by a catastrophic earthquake.
In the multidisciplinary and idiosyncratic work of Baruchello – which includes painting, sculpture, film, poetry, psychoanalysis, happenings, agriculture and radical activism – the painting Virtue in Necessity from 1963 (mixed media on canvas, 190 x 200 cm inv. no. 01864), originates from the very beginnings of his artistic career when he created a group of paintings conceptually key to his further oeuvre; paintings filled with fragmentary drawings, miniature worlds scattered on the decentered surface of his canvases.
But unlike this entire cycle, which is typically painted on a white background, Virtue in Necessity stands out among several early canvases for its intense red and orange background and its distinctive drawings and symbols, which the artist himself compares to thought processes and dreams, something that is typical of the Baruchello’s oeuvre in general.
During its existence, the painting has suffered minor damages caused in part by the changing atmospheric conditions of exposure or deposition at certain times in the past, as well as one major damage on part of the surface layer of the canvas, caused several years ago by a sudden leaking of the museum’s roof. All these factors made it impossible to include the work in occasional museum exhibitions.
Finally, with the restoration and conservation project prepared by the Department of Collections and Depot and the Conservation Department, in close cooperation with Ema Petrova Nikolovska, senior conservator at the National Conservation Center – a project financially supported by the Ministry of Culture and approved by the National Institute for the Protection of Cultural Monuments – the painting of Baruchello will soon be restored to its original state.
After the previously conducted research and chemical, microscopic, X-ray, and infrared analysis of samples from the surface of the canvas and fragments of the paint, the conservators Ljupco Iljovski and Jadranka Milčovska, in consultation with Ema Petrova Nikolovska, started the process of restoration and conservation, which in several stages mainly includes: thorough cleaning of surfaces from chemical damage with chemical means, fixing the colored layer with Japanese paper, ironing the deformations of the canvas, antiseptic treatment of the “blind frame”, injecting a binder, putting the damaged areas with restoration putty and leveling with egg emulsion that follows the original texture of the painted surface.
With the realization of the project, the Department of Conservation and Restoration confirms itself as one of the successful sectors of MSU Skopje, which after many years of stagnation due to insufficient personnel, and technical and financial support, has been on the rise for several years now and starting with the employment of conservator Ljupco Iljovski, accompanied recently by the external collaborator, conservator Jadranka Milchovska. Their constant professional concern for the condition of art objects enables the realization of one of the essential museum tasks, such as the protection of works of art and cultural heritage.
Gianfranco Baruchello, Virtue in Need, 1963, mixed media, 190x200cm (MSU painting collection, inv. no. 01864)
Tihomir Topuzovski is the new director of the Museum of Contemporary Art in Skopje. Following the recent resignation of Mira Gakjina, Topuzovski takes the position of acting director from his previous work at the museum as an editor of the Interdisciplinary and Discursive Programs and editor-in-chief of the Large Glass Journal.
Tihomir Topuzovski received his doctoral degree from the University of Birmingham in the UK. He also has two BAs in Philosophy and Art, and an MA in Art, and has received numerous academic achievement awards and research grants. He was also a postdoctoral researcher at the Centre for Baltic and East European Studies at the Södertörn University in Stockholm. His research is at the intersection of philosophy, politics, environmental sciences, and the visual arts. He has published a number of papers and participated in individual and group exhibitions. His latest work includes а monograph ‘Postanarchism and Critical Art Practices’ (forthcoming – Bloomsbury Academic), an edited book: with Saul Newman The Posthuman Pandemic (2021), published by Bloomsbury Academic. His other recent works are Aesthetics Technique and Spatial Occupation in Hybrid Political Regimes, Baltic Worlds, Vol. XIV:3, pp 57-63 (2021), and a contribution of chapter to an edited book: Topuzovski T. & Andreas L. (2020) Political protest, temporary urbanism and the deactivation of urban spaces, in Transforming Cities Through Temporary Urbanism – A Comparative Overview, ed. ANDRES, L & ZHANG, Y, Springer. He has organized and contributed to various artistic projects and presentations within the MoCA Skopje programs including ‘Dis/Ordering the Art World’ and ‘Landscape of Anxiety’. Topuzovski is editor-in-chief of The Large Glass Journal for Contemporary Art, Culture, and Theory, published annually by the Museum of Contemporary Art Skopje.
