Retrospective Exhibition of Jasna Dimitrovska and Dragana Zarevska is a carnivalization of the supposedly predetermined success of an artist - imply because he/she happens to possess an artistic family past. The exhibition is showing how one can create imaginary family history of artists-ancestors. This should later "help" the frustrated artist lacking artistic family "pedigree" gain some legitimacy and artistic immunity trough an installation of an "artificial knee" somewhere in the family tree. The Macedonian word for "knee" (колено) is also a synonym for "generation". The "artificial knee" is being carefully developed by Ephemerki as a highly needed sociological and psychological device targeting the artistic-pedigree-deprived artists. It provides the artist with the capability of lying himself/herself and the others. The Slovenian art theorist Aldo Milohnic in Theories of Contemporary Theatre and Performance (2009), introduces us to the idea of "artistic immunity". This kind of political immunity can be achieved trough practicing art, and it entitles the one with various benefices and social comfort. Retrospective Exhibition, can be hence viewed as a performative example of that artistic immunity; it helps the artist get to fame fast and trough fraud, and later fully enjoy it. The exhibition is being curated by Bojana Janeva - Semova, and she not only curates it, but also performs a certain type of curator: a one with no clue of the contemporary context , and very much affiliated to the cheap "landscape oil-on-canvas art" produced nowadays. Like artists, like curator.
Happens only once per 100 years
Duration: one evening the live event plus one week the exhibition alone/ Produced in 2012
Exhibition view, Open Graphic Studio, Skopje, Macedonia / frames and rear mirrors
*The logicstical and financial realization of this piece was partly supported by the OGS - Museum of City of Skopje and Atanas Botev.