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GORAN MICEVSKI, Unclassified, photograhy
In his latest series untitled Unclassified, Micevski is recording the state of things and situations as they are, the realistic view that this medium is determined primarily as a document.
08 Aug Wed
02 Sep Sun
Mindgames, 2012, colour photography


Goran Micevski's photo exhibition Unclassified is a constellation of photographs, where the common thread is, like in previous artistic ventures of this artist, a reflection on the photographic medium. The works have been executed in the traditional analog photograph technique, which could be defined by one of its unquestionable properties: recording of a certain state of affairs, of situations (whether prearranged or not) which turned up before the lens. The presence of this kind of reality in a photografic image, marked by „this was“, is linked with the presentational character of photography – its inherent, constitutive element. In the modernist project of artistic media's self-criticism, oriented towards the elimination of the presentational and a quest for alternative strategies of existence of the work of art, photography as such could not have been subjected to a reductionist process. However, through searching for its inherent properties in the representational works of photographers and artists since the vanguard 1920s till the present day, it managed to connect with reality in new, fresh ways and to establish a specific project of deconstructing and reexamining itself as a medium. Photographic work of Goran Micevski shows that this artist, conscious how significant this process is, participates in the critical reconsideration of the photographic medium and its complex ties with society, ideology and art system without neglecting his personal, intuitive insights and revelations.
The authomatic, presentational nature of photography, based on the production of image by a camera, is what gives Goran Micevski and his works included in the Unclassified, much room for conceptual thinking. Photographic reproduction includes ambiguities of the relation between unselective and selective. Unselectiveness is reflected in the capacity of photography to comprise, thanks to the authomatized representation, a multitude of phenomena, processes and objects, enabling the artist to develop a thesis on the essentially comprehensive nature of photography as compared to other artistic media. Starting from the photographic work of the Japanese artist Hiroshi Sugimoto, who explicitly shows that, contrary to conventional opinion, photography includes the film medium, Goran Micevski in his works such as Mindgames, Clay Pigeons, Still Nature with Cannabis, Neon Garden, Pearl Field, Oasis and Fireworks suggests that photography actually contains and establishes complex relations with other means of expression such as artistic interventions, installations, land art, video and performance, particularlly refering to performative characteristic of the photographic act itself (specially in Black Tent and Graffiti. As its history has demonstrated, photography contributes to the changing of ideas about the nature and reception of arts. In this sense, the title of the exhibition (Unclassified) gains new semantic legitimacy, while the activity of taking photos is extended far beyond from an instantaneous, authomatized shot. However, „unclassified“ does not exclude the category of selective, which fundamentally constitutes photographic medium and also contributes to a photograph's intertwinement with the temporal course of it own production, whether by the exposure time or through a reflected process of a photographic image construction. Photography is explicitly a selective method, based on the selection of an object to be taken by camera, but its conscious use makes room for the accidental and the spontaneous, as well as for a breakthrough of the unselective. This is the space where events unfold, intensively expanding possibilities for a retrospective reception and interpretation of a photograph both by its viewer and its photographer. Starry Sky, Mindgames, Neon Garden, Black Tent and most other photographs displayed here can be read in a given clue, while works like Signposts and Once More on Bad Conscience indirectly refer to the changeable meaning of photographs with respect to their contexts, mobility and deviation from the marked, fixed sense. Thus a photograph as a signifier, through its potential to simultaneously make different classifications, can help us to denounce the functioning of the signification system and its ideological premises, as well as to establish the signified, i. e. the meaning generated by a specific discours. Most Goran Micevski's photographs can be viewed as beautiful pictures, comments on social reality, conceptually esthetic models of the state of affairs in the world or as an analysis of the media and tradition of the history of art, or as a synthesis of all these and much more. A necessary knowledge determines the way in which the interpretation process will run, but the lack of it is also an invitation to a dialogue, openness to new insights.
Esthetical dimension occupies an important place in Goran Micevski's photographic practice and implies an elaborate composition, precisely defined light, the consciousness of perspective. Modernist self-criticism in the photographic medium led to the rejection of the classic esthetic of image, but also set the request for a new kind of pictorial consciousness. Therefore, it is much more complex than a mere rejection or negation of the esthetic element in committed and socially functional artistic tendencies, because the possibilities for a formal composition in photography were brought onto the historical scene through the evolution of the photographic medium in the context of avant-garde. Having grasped this dual dynamics of photographic image's existence and its inherent representational properties, Goran Micevski also releases, personally and intuitively, the potential of beauty in his photographs, suggesting that the inclusion of „beautiful“ does not necessarilly anesthetizes the conscious, critical potential of the photographic image, which is capable to participate in the construction of a relevant model of reflected existence.

Maida Gruden

Goran Micevski (1977) graduated from the Belgrade Faculty of Applied Arts (Department of Photography). Key words for the photographic practice of this passionate traveller and walker are loyalty to analog photography techniques, permanent reflexions on the medium itself and research on the relation between photography and the contexts and topics he explores (art, society, everyday life). He exhibited his works in numerous group and solo shaws in the country and abroad. Micevski is a recepient of Media Forum Festival Award of the Moscow International Film Festival and the award of Alternative Film/Video Festival in Belgrade.


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