Exhibition of works from the Museum of Contemporary Art – Skopje collection and works by contemporary artists
November 28, 2024 – March 30, 2025
Contemporary artists: Inas Halabi (Palestine/Netherlands), Syowia Kyambi (Kenya/Germany) Ivana Sidjimovska (North Macedonia/Germany) Ala Younis (Kuwait/Jordan) and Carla Zaccagnini (Brazil/Sweden).
Graphic design and artistic intervention – Iliana Petrushevska
Exhibition design – Jovan Ivanovski, Ana Ivanovska, architects
MoCA-Skopje curatorial team: Ivana Vaseva, Blagoja Varoshanec, Sofia Grigoriadou, Iva Dimovski, Vladimir Janchevski, Nada Prlja
Concept collaborator – Tihomir Topuzovski
Conservators – Ljupcho Iljovski and Jadranka Milchovska
The exhibition is part of the 60th anniversary of the founding of the Museum of Contemporary Art – Skopje.
The exhibition Broken Time. And the World is Made Again by What it Forgets is a representative selection of works from the collection of the Museum of Contemporary Art – Skopje, some of which have rarely or never been exhibited. Most of the exhibited works are by artists originating from what has been understood as the “peripheries” of the world from the perspective of a Eurocentric “geopolitics of knowledge,” as well as works by contemporary artists connected to those regions. This selection attempts to locate different stories, often excluded from the dominant narratives, but nevertheless possessing great emancipatory power.
Broken Time, responding to the task of inheritance, opens up space for works of art, stories, and ghosts that have not been equally exhibited, imagining possible future readings of the collection of the Museum of Contemporary Art – Skopje, which will inevitably be haunted by the past.
The general idea of the exhibition is to reexamine historical and critical themes such as colonial history and neocolonialism, feminism, hegemonic exploitation, the hybridity of cultural formations and transformations and the corresponding resistances and struggles, as well as the complex realities of countries (and groups) that are conceptualized as “peripheral.” The exhibition consists of works from the MoCA-Skopje collection that originate from the Global South—bearing in mind that it is a heterogeneous and deterritorialized category—or those that do not participate in the global market from a hegemonic position. The exhibited works have been archived under a national umbrella, originating from Argentina, Bangladesh, Bolivia, Brazil, Chile, Cuba, Egypt, Iraq, Iran, Kazakhstan, Kuwait, Morocco, Mexico, Uruguay, Uzbekistan, South Africa, Venezuela among others. Works by artists from these countries but active elsewhere are also included. They are put in dialogue, on the one hand, with works from the countries of the former Yugoslavia (North Macedonia, Kosovo, Serbia, Croatia, Slovenia, Bosnia and Herzegovina, Montenegro) as heirs to the Non-Aligned Movement politics and its legacy, that are especially active in the realm of culture. On the other hand, the exhibited works are in dialogue with works by contemporary artists who critically question local and global hegemonies. Some of the works of the MoCA-Skopje collection that are part of the exhibition are by the renowned artists Maria Bonomi, Roberto Matta, Aída Carballo, Félix Beltrán, but as well as by Remo Bianchedi, Roberto Valcárcel, Samson Flexor, Fayga Ostrower, Anésia Pacheco e Chaves, Gerty Saruê, Peter Clarke, Max Aruquipa Chambi, Maria Auxiliadora Silva and others.
The works by the invited contemporary artists (Younis, Halabi, Kyambi, Zaccagnini and Sidzimovska) that have been selected for this exhibition are not meant to be experienced isolated, but offer the opportunity for ongoing dialogues among them and with the exhibited works from the collection of the MoCA-Skopje. Postcoloniality, political action and artistic forms of resistance, women’s bodies, perspectives and production, environmental destruction and colonial extraction, haunted colonial and modern narratives, modernist thought and architecture, forms of solidarity and deconstructions of the national, are some of the themes that the artists address. These themes are not exclusive, as more than one can be traced in each work.
Bringing the works of the collection in relation with works by contemporary artists creates a potential framework for contextual and critical stories of postcolonial solidarity, transformative emancipation and collaboration. It is also an attempt to potentially establish a different representative anti-hegemonic identity for the museum. Undoubtedly, the MoCA-Skopje collection, positioned this way, can be employed to reexamine past exhibitions, as well as knowledge about (epistemology of) the collection itself, thus revocating the power (politics) that it has represented.
Artists: Lawrence Abu Hamdan, Beirut Urban Lab, Centre for Spatial Technologies, Forensic Architecture, Kumjana Novakova, YoHa and Matthew Fuller.
Disastrously, but with deliberation, war is increasing today. How are we to make sense of it? War comes to us and takes place through technologies of sensing and action. As well as operating as destruction, war happens through the senses and on the senses. Sensory technologies influence and mediate the ways we experience, know, interpret, classify, and inhabit the world, as well as the traces we leave behind.
‘War on the Senses / War of the Senses’ registers how aesthetics is fundamental to war. The senses become a key site through which war is pursued and also become its targets. Machine sensing, as much as human perception, is involved. We see this in the amount of data circulating online as well as its speed and distribution. This sheer mass transforms sensation and experience; something further intensified through information warfare and campaigns of mis- and dis- information, as well as the automation of warfare itself. These developments redistribute articulations of crises fueled by military conflicts and form part of the theatre of war whilst also being part of the everyday news agenda.
This exhibition focuses on relationships between contemporary digital technologies and the production, distribution, interpretation, and use of images and evidence of war in order to explore the nexus of aesthetics and violence. The exhibition highlights six exemplary projects working on the investigation and analysis of such conditions. Each work may suggest ways of understanding this condition and even reworking it by calls for justice and the forming of evidence.
Artist Biographies:
Lawrence Abu Hamdan is an independent sonic investigator or ‘Private Ear’. His investigations focus on sound and linguistics and have been used as evidence at the UK Asylum and Immigration Tribunal and as advocacy for organisations such as Amnesty International and Defence for Children International. Abu Hamdan received his PhD in 2017 from Goldsmiths College University of London and was a joint winner of the Turner Prize in 2019.
Beirut Urban Lab is an interdisciplinary space at the American University of Beirut. The Lab produces research on urbanization to document and understand transformation processes in Beirut, Lebanon, the region, and cities more broadly. Strongly committed to visual scholarship, they have created geographic databases, interactive platforms, and multiple mappings of urban systems and phenomena over several years, with the ultimate aim of exploring different strategies and imagining alternative models of recovery.
The Centre for Spatial Technologies is a cross-disciplinary research practice, specialising in spatial analysis, visualisation, and modelling based in Kyiv. They have documented and analysed many of the acts of violence taking place in Ukraine.
Forensic Architecture is a research agency based in London that since 2010 has reworked the tools of architecture and art to establish new forms of human rights investigation. Their work has been used as evidence in courts internationally and been shown in leading art institutions worldwide.
Kumjana Novakova is a research-based filmmaker, working also as film-curator and lecturer in cinema and audiovisual methodologies. She is a co-founder of the Pravo Ljudski Film Festival in Sarajevo, and acts as its chief curator. As an author, her research lays between cinema and contemporary video art, researching relationships related to power, war, memories and resistance. Currently Kumjana lives between Sarajevo and Skopje.
YoHa, (Matsuko Yokoji and Graham Harwood) are an artist couple working in the south of England. They have often worked on the ways database technologies produce different kinds of social conditions. For this project, and some others, they worked with Matthew Fuller, co-curator of this exhibition, to develop an approach to the dataset. Matthew Fuller is a cultural theorist who works on art, science, politics and aesthetics. He is Professor of Cultural Studies at Goldsmiths, University of London.
Curators: Matthew Fuller and Tihomir Topuzovski
Graphic design: Denis Saraginovski
Exhibition design: Jovan Ivanovski
Curators of the exhibition:
Vladimir Janchevski / Blagoja Varoshanec / Iva Petrova Dimovski
The exhibition entitled Findings: Works from the Spanish Collection in the Museum of Contemporary Art – Skopje marks 30 years since the establishment of diplomatic relations between Spain and North Macedonia. The exhibition is the result of the cooperation of the Museum of Contemporary Art – Skopje and the Embassy of Spain in the Republic of North Macedonia and is part of the celebration of the National Day of Spain on October 12.
After the catastrophic earthquake that shook the city of Skopje in 1963 and the establishment of the Museum of Contemporary Art-Skopje in 1964, the contribution of Spanish artists is also notable, which over the years has resulted in a remarkable collection of donations through direct contacts. The collection has been further expanded, and artists from Spain are also included in some of the contemporary exhibitions.[1↓]
The MoCA-Skopje collection holds a total of over 5300 works, among which the Spanish collection has a significant impact with 42 works by 19 artists, such as Ángel Duarte, Manolo Millares, Mil Lubroth, Rafael Canogar and others, as well as 8 works by 4 artists of Spanish origin who lived and worked abroad and are included in other collections such as the French and the Brazilian: Doroteo Arnáiz, Joan Rabascal, Isabel Pons and of course Pablo Picasso. Donor artists are the bearers of a creative continuity throughout the 20th century.
Although it is a smaller collection compared to others, the works from the Spanish Collection qualitatively represent an essential part of the MoCA-Skopje collection, as a representative overview of the achievements in art in the 1960s and 1970s, embedded in the basic concept on which the Museum is based. This is also confirmed by the fact that works by Spanish artists were regularly exhibited in Museum’s permanent exhibitions (1970,[2↓] 1982, 1991, 2014), within the exhibitions of Donated Works, as well as within the exhibitions of a selection of works from the Graphic Collection (1972, 1983, 1988, 1991).
During the decades long communication between the two countries, several collaborations in the field of fine arts have been achieved. Other important guest exhibitions have been held in MoCA-Skopje, among which the exhibition of the Spanish Informel in 1983,[3↓] stands out for its importance, being an event that caused great interest and opened a debate regarding the dominant artistic discourse.[4↓] Works by Spanish artists were also included in the most important guest exhibitions such as the recent ones at the Kunsthalle Vienna (10 April 2023 – 28 January 2024),[5↓] and the National Gallery in Prague (21 March – 29 September 2024),[6↓] which include works by Picasso and Rabascal.
Until now, the Spanish collection has not been separately presented, and this is the first more extensive separate overview, through an exhibition and the publication of a publication that includes the authors from the Spanish collection, as well as the authors of Spanish origin. We believe that their presentation is particularly important in today’s moment, in order to highlight the openness and aspiration of MoCA-Skopje for the promotion of international cooperation.
The exhibition titled Findings presents a selection of paintings, graphics, photographs, tapestries and mosaics, created in the period from 1937 until 2006, by several generations of Spanish artists who lived and created in and outside of Spain. A total of 39 works by 26 artists are presented, including 27 works by 19 artists from the Spanish Collection of MoCA-Skopje (R. Canogar, M. Millares, Lisa Rechsteiner, Luis Ortega, Gérard Lomen, Jose Luis Galicia, etc.), as well as 6 works by 4 artists of Spanish origin or born in Spain (Isabel Pons, J. Rabascal). In addition, the exhibition presents 6 works by 3 artists inspired by Spain (Albert Soulilou from France, Bruno Talpo from Italy and Ivo Veljanov from Macedonia). The exhibition is complemented by a selection of documents, catalogs and photographs from the MoCA-Skopje archive, which shed light on the context in which the MoCA Collection was created and document the Spanish contribution to this collection.
Through the presented works of important authors who are part of the world’s artistic heritage, this exhibition also imposes the basic intention of highlighting universal values and updating the need for further complementing the collection with works by authors open to modernity through an innovative and critical approach to art. This exhibition, which opens on the day when the National Day of Spain is celebrated, in the year that marks the 60th anniversary of the founding of MoCA-Skopje, is a reminder of world solidarity – on which the Museum is based – and the importance of international cooperation, which is the basis for coping with the common challenges of our time.
Exhibition Coordinator
Juliја Manojlоska
Conservation Team
Jadranka Milčоvska, Ljupčo Ilјovski
Visual Identity
Nada Prlja Serafimovski
The exhibition and the catalogue are realised with the financial support by the Embassy of Spain in Skopje.
[1] Such as Daniel García Andújar’s participation in the exhibition All That We Have in Common, MoCA-Skopje, December 2019, curated by Mira Gakjina and Jovanka Popova.
[2] Boris Petkovski, Exhibited paintings and sculptures from the MoCA collection. Publication from the perma-nent exhibition opened in the new building on November 13, 1970.
[3] Informel in Contemporary Spanish Painting, MoCA-Skopje, May-June 1983. Organizer of the exhibition: Victoria Vaseva Dimeska. Text: Ceferino Moreno.
[4] Vladimir Georgievski, Abstraction in art: Who needs the Spanish Informel?, Commentary (on the occasion of the exhibition Informel in Contemporary Spanish Painting, MoCA Skopje, May – June 1983) Published in Nova Makedonija, Skopje 04.06.1983; Untitled – Commentary from the column Cultural Life on the occasion of the debate between Vladimir Georgievski and the Professional Collegium of the Museum of Contemporary Art Skopje, published in Nova Makedonija, Skopje, 11.06.1983.
[5] No Feeling is Final: Skopje Solidarity Collection, MoCA Skopje, Kunsthalle Vienna 10/04/2023-28/01/2024. Exhibition curated by WHW, in collaboration with MoCA-Skopje.
[6] No Feeling is Final: Skopje Solidarity Collection, MoCA Skopje, National Gallery of Prague 21/03/2024-29/09/2024. Exhibition curated by WHW and Rado Isztok in collaboration with MoCA-Skopje.
On September 5, at 20:00 hours, solo exhibitions will be opened at the Skopje Museum of Contemporary Art of the young artists Serhat Emrulai and Nađa Kračunović, winners of the “Most Successful Author and Work” award, awarded to them last year at the 14th International Biennial of Young Artists entitled as “Awakenings”.
The curators of these exhibitions are Iva Dimovski, Bojana Janeva and Nikola Uzunovski.
This award is in fact a solo exhibition at the Skopje Museum of Contemporary Art awarded to two authors for their works.
The young artist Emrulai won the last year’s Biennial with his installation “In-Between”, while the young artist Kračunović is the winner of the award for her video performance “Hydra”.
On September 5, Serhat Emrulai will present himself with the installation “We Are Moving to a New Location”.
He skillfully integrates the museum’s unique architecture into a personal author’s narrative, turning the space into a key artistic experience component. Thus, visitors are drawn into a carefully traced path via spacious design, thoughtful lighting and symbolic materials, in order to provoke visitors’ deep engagement on topics such as gender roles, economic turmoil and demographic changes.
Emrulai (Germany, Kiel, 1989) studied fine arts pedagogy at the Academy of Fine Arts in Tetovo until 2013. In 2016, he moved to Italy and enrolled in the Venice Academy of Fine Arts, where he first graduated painting, and then completed his master studies in painting at the same academy. So far, he has realized several solo and group exhibitions, workshops and auctions in Italy, Germany, Albania and this country. In 2022, he had a solo exhibition in Shkodër, Albania, and in the same year, at the invitation of VizART, he participated in a collective exhibition held at the National History Museum of Tirana, where he was awarded as “the best contemporary artist”.
The exhibition is supported by the Ministry of Culture of the Republic of N. Macedonia and MoCA’s long-time friend, Tikveš.
Nadja Kracunovic (born in 1996) is a Serbian-born artist based in Germany.
Her interdisciplinary art practice intersects performance, visual arts, and theater, focusing on the personal experience of survival. Born to a single mother in the Balkans, she investigates how gender, sexuality, citizenship status, dis/ability, family relations, and social norms are embedded in the cultural realities of women. Reviving stages in public spaces, Nadja either brings female characters to life or invites real protagonists into her narratives through performative investigation. Her work employs voice, documentation, humor, and poetry, drawing the materials from her diaries, folk tales, family history, and intimate encounters.
In addition to her exhibiting practice, Nadja is a professional outcrier and advocate for self-governing communities. She co-founded the ‘Crying Classroom’ project (https://cryingclassroom.net/) and the never-ending radio station ‘Future Nostalgia FM’ (https://www.futurenostalgia.digital/). Moreover, she has been conducting voice and performance workshops titled ‘How to Perform a Scream?’ since 2023.
Solo exhibition
MoCA Skopje
Curator: Vladimir Janchevski
In a dynamic world defined by a constant change, the phenomenon of destruction of a social, political and economic system, is part of the experience of our societies stuck in a seemingly endless transition.
Borders, boundaries, walls, visible and invisible, building, rebuilding, renovation, holes and edges in law, or else, transition, transformation, overcoming, are all in fact things that describe and define us.
Alban Muja’s artistic practice explores different aspects of structures that define national, ideological, identity and existential concerns which may not seem so obvious. In his works he goes beyond mere representation and storytelling, focusing as well on the role that images and the media have in constructing and the dominant narrative, on historical and identity issues. Some of the projects are specifically focusing on housing and building practices, the single-family homes that uncontrollably appear on rooftops. Delving into this unconventional cityscape, considering the urban stagnation and its evolving contours, Muja creates a map of the city, that simultaneously testifies to the failure of a system, as well as the individual “creative” approach to the urban problems.
The exhibition of Alban Muja at MoCA-Skopje will show a selection of his works spanning the period between 2016 and 2023. Conceived as an attempt to connect complementary works that attempt to critically observe the shared condition and our common concerns beyond borders, the exhibition is focused on the observation of the everyday, and the experiences of a situation of forced transition and prolonged uncertainty.
Photos from the exhibition: Denis Saraginovski
Photos from the opening: Natasha Geleva
International exhibition “The Event of a Thread: Global Narratives in Textiles”, organized by ifa (Institut für Auslandsbeziehungen) and MoCA – Skopje.
Curated by Susanne Weiß, Inka Gressel, and Jovanka Popova.
The exhibition will be opened on Tuesday, May 28 starting at 8:00 p.m.
Textiles are at the heart of the ifa touring exhibition, which focuses on questions including: What inherent meanings and messages can be found in fabrics? What is their cultural significance? How can textiles be ‘read’? What can fabrics tell us about their origins, meanings and social roles? Which traditional textile techniques have artists appropriated, abstracted, relocated and brought back to life? Textiles constitute a locus in which art encounters handicraft, traditions meet the present day, and local knowledge intersects with global relationships.
The exhibition highlights the multiple complex ways in which the participating artists work with textiles. They link personal and aesthetic narratives with the social and economic configuration of a globalized world. In 1965, Bauhaus artist Anni Albers described “the event of a thread” as something multilinear, without beginning or end: more broadly, it signifies constant scope to rethink relations and to restructure connections and contexts.
The artist Judith Raum developed “The Bauhaus Space” for the exhibition, an installation dedicated to the Bauhaus weaving workshop. We encounter rewoven fabrics and historic materials in a specially designed display that unfolds its extraordinary success story in six chapters.
Every part of the world can attest the complex inscription of textiles into cultural and industrial history. In a political climate marked by detachment and cruelty, textiles hold the power to evoke reminiscences of earlier heartfelt humane times, to remind us how precious handcrafts are, to call to compassion and solidarity. Hence, in cooperation with local contemporary artists, the main body of the exhibition is complemented by artworks that create new narratives relevant to the textile in the local context and their engaged response to the various oppression forms, systematic but also interpersonal.
In this context, the artworks featured in the Museum collection in Skopje are exhibited not only as testimonies to the lived experiences and memories emerged from the earthquake, rather as a vivid reminder of how necessary these interrupted threads of global support and empathy networks are, transforming the tragic event of personal and collective loss into a transnational solidarity model.
Artists: Ulla von Brandenburg, Kristina Bozurska, Yane Calovski and Hristina Ivanoska, Noa Eshkol, Andreas Exner, Uli Fischer, Zille Homma Hamid, Heide Hinrichs, Olaf Holzapfel, Christa Jeitner, Elisa van Joolen & Vincent Vulsma, Jovan Josifovski, Eva Meyer & Eran Schaerf, Karen Michelsen Castañón, Judith Raum, Franz Erhard Walther, Zorica Zafirovska and Klelija Zivkovic; along with the “Bauhaus Space”, a visual archive on the history of the weaving workshop of Bauhaus Dessau and Weimar (artistic research: Judith Raum; design: Jakob Kirch; architecture: S.T.I.F.F.) and the artworks from the artists in the MoCA Skopje Collection: Sonja Dimitrova, Dimche Koco, Jolanta Owidska, Ismet Ramicevic, Lisa Rehsteiner, Mira Spirovska, Dushko Stojanovski, Patricia Velasco Wallin.
The exhibition project has been supported by the German Embassy – North Macedonia and Goethe Institut – North Macedonia and Tikveš.
From May 18, in the Museum of Contemporary Art – Skopje, visitors will be able to see the newly opened exhibition “Acquisitions – Donations 2022 – 2023”.
Curator: Iva Dimovski
MoCA-Skopje has been developing its international activity for a long time through significant museum projects, as confirmed by the presence of its projects in the world’s most prestigious art magazines such as Artforum, Frieze, E-flux, etc. All of that added to the visibility of MoCA, thus opening the possibility for new contributions to its international collection. Following the donations of the Russian collective Chto delat, the Dutch artist Jonas Staal and the German artists Jana Dettmer and Monika von Eschenbach, the museum recently received ten new gifts in the form of drawings and collages from the world-renowned Polish artists Artur Żmijewski and Paweł Altheimer – works created as a result of their “open studio” concept, a collaborative process of creating “live” collages realized in one of the galleries of the museum. Another significant donation is that of the world-famous author Ahmet Öğüt, consisted of a series of five sculptures, in which the author himself is focused on the reinterpretation of everyday life, on new inspiring works that encourage critical observation.
In addition to international donations, the museum also received a number of gifts from individual Macedonian artists.
An extremely significant contribution to the period of art in the seventies and eighties of the 20th century are the donations of works or another large bequest (55 works in total) of the author Simon Uzunovski bestowed by his heirs, whose conceptual artistic practice was subjected to a historical revaluation at his recent retrospective exhibition at MoCA.
With this exhibition entitled Acquisitions – Donations (2022-2023), the Museum of Contemporary Art aims to present to the general public that the only asset for continuous enrichment of the collections is high quality program activities. The activity adds to the increase of the institution’s capital, driving it in the direction of meeting the global museum tendencies.
Acquisitions
Donations
Simon Uzunovski
Artur Žmijewski
Pawel Althamer
Ahmet Öğüt
Gjorgje Jovanovik
Jana Dettmer
Monika Bauer
Chto Delat
Jonas Staal
Nada Prlja
Delaine Le Bas
Jam Session Art Collective (Mustafa Asan, Mo Diener, Milena Petrovič)
Nihad Nino Pušija
Durmish Kjazim
Sead Kazanxhiu
Dan Turner
Driton Selmani
The Project is financially supported by the Ministry of Culture of R.N. Macedonia.
National Gallery Prague
A cooperation between Kunsthalle Wien, the National Gallery of Prague and MoCA Skopje
Curators: What, How & for Whom / WHW (Ivet Ćurlin, Nataša Ilić, and Sabina Sabolović) and Rado Ištok
The international group exhibition No Feeling Is Final. The Skopje Solidarity Collection revolves around the Museum of Contemporary Art (MoCA) Skopje’s unusual collection of modern works, as well as the historical and political context of this extraordinary project. After the massive earthquake that hit Skopje in 1963, there was a huge effort to help rebuild the devastated city, as a large-scale gesture of international solidarity. The decision was made to establish a museum of contemporary art as a key cultural element of the reconstruction, and thousands of works were donated to Skopje by artists from around the world. The collection of MoCA Skopje represents a time capsule of late modernism across the Iron Curtain, as it goes beyond the established Western canon and incorporates works by artists from the former Eastern Bloc and artists from the then Third World or Global South. Originally held at Kunsthalle Wien in 2023, the exhibition will be presented at the National Gallery Prague (NGP) in a modified version, expanded to include donations from both Czechoslovak artists and the NGP itself, which contributed a selection of works of classical modernism.
Four contemporary artists and two artist duos [Jesper Alvaer and Isabela Grosseová (Prague and Kvænangen), Brook Andrew (Medellín and Melbourne), Yane Calovski and Hristina lvanoska (Skopje and Berlin), Siniša Ilić (Belgrade), Iman lssa (Vienna and Berlin), and Gülsün Karamustafa (Istanbul and Berlin)] were invited to pick works from MoCA Skopje’s collection that resonate with their respective artistic practices. By selecting around ten historical works each and complementing them with their own pieces, they created subjective exhibitions showing the collection through the lens of today’s artists. These personalized displays using architectural design created by the artists extend the backbone of the exhibition, which features historical works selected by the exhibition curators and archival material, including models of iconic buildings and Kenzō Tange’s model of the master plan of the city centre. To convey a media image of the natural disaster and the subsequent rebuilding of the city, the exhibition makes use of the then-emerging television broadcasting.
Furthermore, renowned photographer Elfie Semotan (Vienna and Jennersdorf) was invited to present a new series of photographs documenting the cityscape of Skopje as well as MoCA Skopje’s exhibition spaces and depository. Writer Barbi Marković (Vienna)–known for her sharp combination of fiction and social reality–wrote a travelogue about her experience of confronting the complex and multi-layered histories of Skopje.
Blagoja Varošanec, project coordinator and research consultant, Vladimir Jančevski, consultant and author of part of the texts on the artists, as well as conservators Ljupčo Iljovski and Jadranka Milčovska were the MoCA Skopje staff involved in the preparation of the exhibition.
The exhibition offers a new perspective of the history of post-war modern art through this unique collection. It is also an invitation to reflect on historical and contemporary forms of solidarity and the role of art in a time marked by conflict, destruction, and uncertainty, but also by cohesion, renewal, and a vision of a hopeful future.
*This is an adaptation of the official NGP text.
