oliver musovik


Oliver Musovik, Graffiti, from the Neighbours series, 2010

Oliver Musovik, Graffiti, from the Neighbours series, 2010

The first graffiti on the building appeared some years ago. It was a single word in Macedonian – ЗОШТО? (WHY?) – written in red with the usual graffiti style letters. Don’t know who wrote it, or what it actually meant. Couple of years afterwards, during the spring clean up of the yard, when the neighbours whitewashed the tree trunks for protection from insects and sunscald they painted white paint over that graffiti. Not long after that, on the same spot a new graffiti appeared. This one, a little longer, is a phrase – ПОТРЕБНА Е ПРОМЕНА… (A CHANGE IS NEEDED…). I imagine that the author is the same as the one of the previous graffiti, as it is sprayed on the same spot and seams somewhat dialogical, argumentative. Centrally, in front of the graffiti, from a crack in the pavement an apple tree sprouted. It grew almost 2 meters high, before finally this spring during the cleaning of the yard it was cut down (the chopped tree trunk lays at the left). Yet, the graffiti was not painted over this time, although the trees were whitewashed again.

*Neighbours (2010)

The third part of the Neighbours series shows images from the yard of the apartment building where the artist lives, a space shared and shaped for and by the tenants. Eight years after the second part of the Neighbours series, he recorded the changes that occurred since, only this time more focusing on the natural processes of ageing and decay. In the first part of the Neighbours series he was observing his neighbours and getting acquainted with their habits and he revealed the unwritten affairs and written house rules, the rituals of people who shared the paradigm of housing, every day for many years. The communal spaces – staircases, vestibules, front doors – and the people who inhabit them, become mutually constitutive because of the reflexive process that continually changes them, both materially and mentally. Such mutations and exchanges of energies between people and places are of permanent and continual interest to the artist who transforms and presents his findings with humour, warmth, and curiosity, appreciating the ordinariness and boredom of the small stories about common people, not excluding himself from this series. In the third part of the Neighbours series Oliver Musovik also captures nature interacting with the post-socialistic urban landscape through his development of a highly appropriate visual way of presenting of such a concept, using low-tech, gray scale photography.

Oliver Musovik, born 1971 in Skopje, is an artist working in the field of artistic research into social relations. He lives and works in Skopje.



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AFTERMATH. Changing Cultural Landscape – Sarajevo

AFTERMATH. Changing Cultural Landscape
Tendencies of engaged post-Yugoslav contemporary photography

12-26 May 2014

City Gallery Collegium Artisticum, Sarajevo
(Terezije bb, Centar Skenderija)

After the initial presentation in Ljubljana followed by five shows across the region (Pordenone, Zagreb, Beograd, Cetinje, Bratislava) Aftermath. Changing Cultural Landscape project will be shown in Sarajevo. The exhibition brings together the principal protagonists from the field of engaged contemporary photography active in the territory of the former Yugoslavia following its disintegration (1991–2011).

*The exhibition is dedicated to recently deceased Milena Zarić Maksimović. R.I.P.

Nenad Malešević, Age of Renewal, 2009-2011

Nenad Malešević, 13 January 2006, from the Age of Renewal series, 2006-2011

Domagoj Blažević • Boris Cvjetanović • Qëndrëse Deda • Andrej Đerković • Tomaž Gregorič • Majlinda Hoxha • Astrit Ismaili • Robert Jankuloski • Genc Kadriu • Amer Kapetanović • Silvestar Kolbas • Srđan Kovačević • Borut Krajnc • Nenad Malešević • Goran Micevski • Duško Miljanić • Bojan Mrđenović • Paula Muhr • Oliver Musovik • Vigan Nimani • Ana Opalić • Lazar Pejović • Darije Petković • Ivan Petrović • Marija Mojca Pungerčar • Vojo Radonjić • Jasenko Rasol • Bojan Salaj • Tarik Samarah • Mirjana Stojadinović • Viktor Šekularac • Dejan Vekić • Sandra Vitaljić • Borko Vukosav • Milena Zarić • Ivan Zupanc • Antonio Živkovič

The Aftermath. Changing Cultural Landscape international project is the first regional research and curatorial platform established in order to identify and articulate principal tendencies within the field of contemporary photography in relation to its immediate environment. With the participation of partner organisations from throughout the former Yugoslavia, the project represents an extensive investigation of the effect of large-scale social shifts on the image of the physical and mental environment, and thereby, also on the expression of a number of artists who work in the field of fine art photography.

Aftermath represents a metaphor for the consequences of turbulent events and their mark on the physical environment and on social everyday life. Through their creative efforts, the participating artists address various effects of transition processes that unconditionally and brutally changed the life of the individual, be it the bloody wars in the 1990s and their indirect and direct consequences, radical economic changes that had a significant impact on the general climate, or directly related new social values.

Due to its temporal span, Aftermath provides an interesting confrontation of artistic reflections and expressions of various generations that either experienced the period before the disintegration of the common state or originate from a completely new social context. A 20-year period is short enough to preserve historical memory; thus, with most artists, the new situation is always somewhat juxtaposed with the memory of the recent past. The main starting point of the exhibited works is therefore the relation between the old and the new, the recording of the gradual changes within an individual place and time and the effect of ideologies on the broader social and physical environment.

Aftermath is collaborative project of seven partner organisations from former Yugoslav states (Beograd, Cetinje, Ljubljana, Priština, Sarajevo, Skopje, Zagreb); it is supported by European Cultural Foundation (BIFC), local authorities and Commune di Pordenone.



Photon (Ljubljana) / Remont (Belgrade) / Film & Film (Pula) / Collegium Artisticum (Sarajevo) / Stacion (Prishtine) / Narodni muzej Crne Gore (Cetinje) / Contemporary Croatian Photography (Zagreb)

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