About individual works, presented at the pavilion

lr_north_macedonia_nada_prlja_vb2019_6_departament-01_photo-raul-betti“Department for Conservation and Restoration”

Nada Prlja
2016-ongoing
7 Paintings
Acrylic, charcoal, plasterboard, 120x220x0.5cm
Photo © Raul Betti
Courtesy of the artist

Work as exhibited at La Biennale di Venezia

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Borko Lazeski
Epic for Freedom
1981
Fresco
Acrylic, 5 oval planes, 5x5m each (125m2 in total)The fresco was painted on the walls of the Telecommunication Center’s Counter Hall in Skopje, one of the most iconic brutalist buildings of the post-earthquake period of the city (by architect Janko Konstantinov); Lazevski’s five frescoes were an integral part of its enigmatic interior.
Photo borrowed from Rosica Lazeska

The seven exhibited paintings were realised with the intention of ‘repairing’ a section of the 125m2 mural by artist Borko Lazeski (1917-1993), entitled “Epic for Freedom” (1981), which was destroyed in a fire in 2013 within the building of Telecommunication in Skopje, for which the mural had been specially commissioned.

This work represents Prlja’s desire to recreate the lost artwork by Lazeski, a valuable work which played a significant role in the collective memory of the citizens. With the intention of highlight one of the valuable postulates of leftism – the notion of Solidarity, Prlja contributes to the notion of solidarity through an act of offering something back to the city, through artistic means.

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Nada Prlja in the studio.

The series of paintings by Prlja are not mere copies of Lazeski’s work, but its motifs are painted in different scales and in a free interpretation of the original works, with the intention of showing the fragility of memory in an attempt to reshape the past, an intention shared by most of the works in the exhibition Subversion to Red. With this work, Prlja also draws attention to mural painting, or political public art, one of the forms of art that directly demonstrates its link to politics. In a time of political advertising and party posters dominating the public space or our cities, it is necessary to ask ourselves – should art be a contributor to those events?

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The process of the painting is ongoing and it started in 2016, as a part of an exhibition “Temporary spiritual remediation, intimate urban re-vision – Skopje Urban Stories” curated by Ana Frangovska (https://nadaprlja.com/department-for-conservation-and-rest…/). By now 7 painting (on plasterboard, each measuring 1x2m) have been completed.

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