Tag Archives: ex-yugoslavia

Superheroes

To conclude all this southeastern Europe-focused posting on a positive note, I strongly urge all fans of energetic guitar-based music to check out Belgrade’s excellent Stuttgart Online and to buy their infectious album Radost Svakom Domaćinstvu. They definitely capture the dada-street art sound of late seventies Belgrade as immortalized on the anthology Paket Aranzman — particularly the bottom end-heavy sound of Sarlo Akrobat.

There’s not much in English, but here’s a note from Exit Festival 2010, Novi Sad’s annual music festival.   But who needs English?  It’s music.  Take a listen to “Superheroj” right here on YouTube.

Fans of energetic guitar-based music take note: this band has no guitarist.

Thanks to Igor for the recommendation.

Blog will return to south-central European-focused affairs momentarily.

The Artist is Presented

It’s voting season. And this year in the US, it will be important to vote. But that’s not what I’m pushing here.  You need to go here and vote for Igor Tosevski for Wooloo’s artist of the month.

The Piano Has Been Drinkin' (Not Him)

When I lived in Macedonia, I met one Igor Tosevski through a series of mutual acquaintances. After long periods in rustic and rural places, going for a coffee or a meal with Igor and his longtime parter, Tanya, was always a breath of life. Conversation was never limited. Their horizons seemed to be continually broadening at a time when mental space in Skopje was continually shrinking. No mean feat, that.

In addition, I got an education in situational art beyond the passing acquaintance I’d had with pompous and effete fops in the US.   Sure, guerrilla art has been the provenance of a certain urban class of elites since its inception. But what does it mean to do this in the former Yugoslavia and in Macedonia, especially during the nineties, when it was prudent to keep one’s views to oneself? What does it mean to do this during times of nationalism and small-mindedness? The stakes are much higher than what they might be in Milan or New York.

In 2004, I had the good luck to see Process at a time when the Macedonian government’s inability to regulate or commodifiy any kind of production — much less art production — was making the lives of most people a bureaucratic hell. The use of a rubber stamp to create a giant self-portrait in a room festooned with the actual legal text stipulating that artists must register as ‘traders’ was a biting commentary on the attempts of post-socialist bureaucrats to privatize virtually everything.

In the same year, I had the even better luck to go with Igor on some of his missions to paint occupied Territories at various sites around the country.  Macedonia had just narrowly avoided the kind of senseless violence and partition that still plagues places like Kosovo and Bosnia today, so the act of painting arbitrary (or, sometimes not-so-arbitrary) lines in the people’s common spaces, delimiting them for obscure motives, was even more trenchant.  The looks on people’s faces ranged from apathy to disgust to — rarely — joy.  It was a project that bound the absurd with the deadly serious in an active, physical, even fun way.

Igor’s art is compelling and actually makes one question what is going on in one’s surroundings. It accomplishes that very rare thing of succeeding where so many others have failed miserably.  (In that way it reminds me of another artist from the same country that once upon a time, there was.)  It is timely; never hectoring, always thoughtful, with a keen eye to the political but not overtly so. It’s good art. That’s uncommon.

And after two and half decades of work he’s finally getting some recognition, so go over to Wooloo and vote for him. With any luck, you may be seeing him somewhere familiar soon.