THE POLITISATION OF DEBRIS
Solo exhibition by Kristina Bozurska
Curated by Nada Prlja
20.04. – 20.05.2015
Towards the end of 2014, an Open Call was announced inviting young visual artists to propose their art works for participation in a public exhibition to be held in the gallery spaces of Serious Interests Agency (SIA), in Skopje.
The main purpose of this Open Call was to enable the potential participants in the exhibition, to propose a constructive and creative response to specific aspects of the local context of our city, Skopje, in Macedonia.
The international jury commission comprised the following members: Petra Bischof of Art∡ngle; Blanca de la Torre, a curator at the ARTIUM Museum-Centre of Contemporary Art in Vitoria-Gasteiz, Basque Country, Spain; Marta Popivoda, a film /video maker and a cultural worker based in Berlin and Belgrade, who recently received the Berlin Art Prize for the Visual Arts; as well as Dr. Nebojsha Vilik, an Art historian and professor teaching at the Faculty of Visual Arts at the University St. Cyril and Methodius in Skopje.
The shortlisted artists for the proposed exhibition, selected from the numerous and wide-ranging applications sent in response to our Open Call, were Kristina Bozurska, Zorica Zafirovska, Goran Menkov, Dusan Pejcev and Zoran Sekerov.
The final selection of participants in the exhibition, reflects the jury commission’s intention for the exhibition (in keeping with the theme of the Open Call) to be concieved as a reflection of the current events and conditions in our city, rather than permitting the exhibiton to become a voice for different topics as represented by the works of several individual artists. Instead, the selected works deal with a single issue – the position of the local worker, which influenced the jury’s decision (with a different number of votes from the various members of the jury) to select Christina Bozurska’s art works to be presented at this exhibition, the tile of the exhibition is THE POLITISATION OF DEBRIS, the exhibition title was proposed by Blanca de la Torre, one of the members of the jury.
Jury members comments:
As suggested by Petra Bischof, the selected artworks speak both on a universal and a symbolic level, while Marta Popivoda recognises positions that enable a transformative reading of gender related themes, creating thereby alternative readings in the creative spheres.
‘Kristina Bozurska work is concerned with the issue of human dignity, she do not deal with the human body directly, she deals with the subject through the wasted object, through man-made objects which in the process of use become debris of discarded.’
Blanca de la Torre
‘Kristina Bozurska’s three works can be seen as a triptych. All three works deal with the anonymity, or even the invisibility of workers. The pile of used and dumped gloves, used like a ‘pars pro toto’, where a part of something is taken as representative of the whole (a pair of gloves for one worker), seems to symbolize this anonymity. The invisible man, as a silhouette of words, is yet another worker, hands in pockets, with a robust, sturdy body, dressed in simple clothes.
The works made me think of the numerous workers who are without any claim to fame involved in the ‘making of ‘new Skopje’, or otherwise involved in any construction site in the city. Bozurska’s three works relate directly to the local context of the city of Skopje, depicting an issue which has already been addressed – and is now being addressed anew through an art work (be it directly linked to Skopje or to a more universal notion of the working man). Perhaps this does not represent a particularly new concept or approach, as such, but it is nevertheless convincing in its simplicity and directness.
The paintings show a clear line of the brush, and are well-composed, while the “Used and Dumped” painting, revealing aspects of photo-realism, is impressive through its dimensions and attention to detail. The paintings, together with the pencil drawing on the wall, have a poetic – or better still, an aesthetic quality – regardless of the profane object/subject matter.’
‘Kristina Bozurska speaks through the objects of human waste, through the leftovers where traces remain, producing works that speak through a forsaken humanness. She employs garbage to question today’s consumer society and issues of mass production; in this instance, the discarded items are directly represented in a series of paintings depicting workers gloves, quite worn out and eroded. Perhaps disposal objects can have more meaning than others. Waste has more life, more character than objects which haven’t yet been used, especially when it comes to items related to work.
Bozurska do not shows a flair for simple provocation; instead she bring to the public debate issues related to the interplay of labor, politics and economy, revealing the injustice behind certain mechanisms of workers’ conditions within capitalist practices and economies. As a chronicle of the relationship between maintaining real-estate profits and the enforcement of human rights, the exhibition reveals the perversity of the exploitation of labor, whereby the individual is assigned to a residual plane. The works becomes the witness of this reality, taking the systematically repressive relations of labor as a critical tool, with which to develop an analysis of the alienation of manpower – a transaction whereby human life is irrevocably degraded to the status of a neglected object.’
Images from the opening: