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C
Gallery M ter
on ian Cultural Cen
Maced
2021
Preface
—
Alenka Gregorič

Macedonian artist Sašo Stanojkoviḱ is known for his projects that focus on
groups of people brought together by myriad reasons: professional or personal
interests, reflections on certain aspects of the workings of social systems or
concerns over their failings, sometimes even critical existential issues.
A frequent subject of Stanojkoviḱ’s analyses and interpretations is the art
system with its laws, its explicit and implicit rules, and the relations between
individuals and institutions. His sometimes metaphorical approach, as well
as his research and actions, examine the “state of culture” in Macedonia and
internationally. One such example is his project Film Marathon (2003) that
foregrounds the drastic decline in the numbers of cinemagoers in Macedonia’s
capital Skopje due to the unregulated “industry” of pirate copies of films
circulating on DVDs and VHS tapes. The work is a video installation: one part
shows a movie theatre with a film playing on the screen while the audience
“watching” it is an oil painting portraying cinemagoers, based on an archival
photograph and positioned between rows of empty seats; the other part consists
of a video entitled Žarko and Marko and features two film buffs describing
their favourite films and explaining their reasons for preferring to watch them
at home rather than at a cinema. The intertwining of the different media of
expression, by combining a recorded conversation and footage of a painting,
corresponds to the confused relationship Macedonian spectators have to film as
a medium.
Another principle underpinning many of Stanojkoviḱ’s socially engaged
projects is the juxtaposition of diverse geographical regions and socioeconomic
communities or contexts. His sense of social justice, piqued by the burning
issues of a particular underprivileged social group, led to his Space for Protest
(2012) project, which reached beyond the sphere of art in its search for solutions
to blatant irregularities and failings of the social apparatus. This long-term
research project and exhibition focused on victims of the drawn-out transition
following the dissolution of Yugoslavia, i.e. the part of the labour force that was
made redundant without any compensation or alternative employment: people
whose lives were reduced to bare survival, getting by on social welfare when, or
if, it was available and they were entitled to it. The artist contacted workers who
had been protesting in a park in front of the Parliament in Skopje for a year and
who, by demanding work and camping there, were creating special conditions
of protest and existence; their aim in maintaining a constant presence in
the park was to generate discussion about their situation that would lead to
proposals for improving and regulating their status. The exhibition served as a
medium of analysis, and the exhibition venue as the venue for discussion.1

4
 The Justice in Focus (2004−2007) project centres on the issue of justice and
equal opportunities for all. The artist photographed people taking photos in
front of the United States Supreme Court Building in Washington, having to
choose between focusing on either the famous inscription “Equal Justice Under
Law” on the building or the faces of their subjects. The inability to capture
both the private and the common in focus and in the same image alludes to
the individual’s lack of power when confronted with positions of power in
political and social life. The project is a metaphor for the utopian idea that
equality under law is possible for all members of society. In Part II of the
project, Stanojkoviḱ applied the idea to the local context with a video featuring
Macedonian experts speaking on human rights and the law.
Another project dealing with issues of geopolitical and social realities that
also manifest in the field of art and culture was the performance To Whom
It May Concern (2005). The artist wrote the names of 100 Eastern European
artists on a whiteboard at the ICA in London as a suggestion to certain London
galleries that showed very little interest in Eastern Europe art. He also produced
a fake guide to London museums and galleries, including these same artists in
their programmes, except that the names were now “adapted” for the Western
market, i.e. written without the diacritics and thus less alien. His gesture drew
attention to the general problem of the non-inclusion of Eastern European
artists in the universal art system, or rather, in the international art museum
and gallery system that dictates the art historical canon.
A more recent long-term project referred to the leverage of power within
the art system, focusing on the local environment through conversations with
artist Liljana Gjuzelova carried out over several years. Inventory of Questions
and Answers (2015) is a joint project by two artists of different generations
and artistic interests but sharing the same geographical, social and political
environment. What brought them together was reflection on a variety of
dilemmas concerning Macedonian cultural and art paradigms. Political changes
in the region frequently entail changes in the management of art institutions
also, which may lead to standards and criteria for art becoming a matter of
“taste” or interests of certain political groups, since art systems in societies in
transition are inherently entwined with their political systems. In numerous
long conversations, the two artists discussed the Macedonian art scene and
the effects of conservative neoliberal politics on the management and policies
of art institutions. They published their discussions in the form of an artist’s
book, using a museum inventory register to enter, in lieu of museum objects
documentation, an inventory of their questions and answers regarding various
institutional strategies, Macedonia’s cultural policies and the accountability of
the institutions – in the case of the Skopje 2014 project, in particular.
Stanojkoviḱ’s What’s Left of the Colourful Revolution? (2016–2018) also
referred to the local political scene, the government’s decisions regarding
its projects that aimed to build a “new” capital of the “new” state. In 2016,
supporters of the opposition and NGOs took to the streets for over a month
to protest against the arbitrary politics of the government led by the VMRO
party, which transformed Skopje into a kitschy, nationalistic historical theme
park with representations of anti-Ottoman revolutionaries and megalomaniac

5
sculptures of Philip II and Alexander the Great. When the anti-government
protests broke out in April 2016, the protesters threw paint at the controversial
monuments and buildings that had been erected as part of the Skopje 2014
project; not only had they cost millions of euros the country could ill afford, the
monuments were also excessively large, artistically problematic, controversial
in terms of content and erected primarily to fuel nationalistic tendencies.
Stanojkoviḱ combined footages of the protests that had been dubbed “Colourful
Revolution” with statements by a number of theorists speaking about
collectivity, joining forces in protest and utopian optimism.
Cooperation and solidarity are important segments of Stanojkoviḱ’s actions
in public space, not only with workers who have found themselves on the
street due to the mismanagement of state property and the sale of state-owned
businesses, but with all citizens concerned about Macedonia’s political, social
and economic realities. Stanojkoviḱ collects his materials through direct
action and in collaboration with experts from diverse fields. Interventions
in public space and collaboration with underprivileged members of society
are two constants of his active participation in society. Thus his art seems
to speak in favour of the proposition that art holds up a mirror to society,
which it always also tries to change. Or, in the words of Walter Benjamin: “An
author who teaches writers nothing teaches no one. What matters, therefore,
is the exemplary character of production, which is able, first, to induce other
producers to produce, and, second, to put an improved apparatus at their
disposal.”2
Stanojkoviḱ is an artist who examines, and encourages us to reflect on,
social issues and the system that he works in, critically scrutinising its leverages
and positions of power. He is especially intrigued by the power of mass media,
which seem to have become just another form of popular entertainment, and
the power of images that has replaced the power of words. As the media theorist
Neil Postman wrote a propos the corruption of the media and news casting:
“... we are presented not only with fragmented news but with news without
context, without consequences, without value, and therefore without essential
seriousness; that is to say, news as pure entertainment.”3 Aware of the power
of the media, of the necessity to ignore their content, and the consequences of
blindly believing in their truthfulness, Stanojkoviḱ treats them as “machines of
manipulation” rather than conveyors of information. He uses them to engender
reflection on a variety of topics, ranging from the closing down of cinema
theatres, which also used to be sources of education and news, to the relevance
of street protests and other forms of public voicing of opinions or dissent.

1
During the exhibition, the artist organized “I Protest, Therefore I Am” (24 October 2012),
a debate involving agents of civil society, experts in the fields of human, civil, and workers’
rights, etc.
2
Walter Benjamin, “The Author as producers”. Available in English at: https://monoskop.
org/images/9/93/Benjamin_Walter_1934_1999_The_Author_as_Producer.pdf, accessed on 18
November 2018.
3
Neil Postman, Amusing Ourselves to Death, Public Discourse in the Age of Show Business,
Penguin Books, 2006, p. 101.

6
The Answer Is: Not Much
—
Suzana Milevska

Not much has left of the Colourful Revolution. In the autumn of 2021, as I am
writing this essay there’s been not much left aside from a few last traces of the
2016 protests’ paintballing, such are the tiny and almost invisible patches in the
interstices of the pavement, some splashes on the higher windows’ frames on
the administrative buildings, paint drippings in their backyards, and of course
the mnemonic traces in collective memories of the unique colourful actions
that took place over the spring and summer of 2016 in North Macedonia. Some
of the paint-drops that the artist Sašo Stanojkoviḱ photographed in 2018 have
already faded being gradually erased by the rain and snow from the surface of
the objects, or, ironically, being rubbed out by the mere Government that came
to power soon after the protests caused the fall of the previous one.
Stanojkoviḱ’s exhibition Transfer of Responsibility encompasses the visual
and discursive archive titled What’s Left of the Colourful Revolution? (2016-
2018). It’s a long-term participatory and artistic research project focusing on

7
the last remnants of the paintballing protests dubbed Colourful Revolution. It
should be stressed that the protests started in the aftermath of a wiretapping
scandal that revealed the government had wiretapped more than 20,000
people. During the protests the recordings were publicly broadcast in front of
the parliament building. The last straw that prompted these demonstrations
was the announcement by then Macedonia’s President Gjorge Ivanov of his
decision to pardon approximately sixty politicians either charged with or under
investigation for criminal activity.1 Ivanov was accused of teaming up with the
ruling VMRO-DPMNE party to protect its officials from prosecution – the same
nationalist party that initiated and erected the inapt, but expensive Skopje 2014
monuments.2 Thus even though the protests were not directly caused by the
irrational investment of approximately 560 million euros in the ultranationalist
urbanist project Skopje 2014, its monuments became some of the main targets
of the revolt and anger of the citizens who decided to take democracy into their
own hands. The protestors argued that Skopje 2014 was ultimately built at the
expense of the socio-political and economic stability of the population that
already struggled with high rates of unemployment and poverty.
The protests however caused neither an immediate collapse of the
government nor a reversal of the government’s position towards the common
urban space. Yet, they did create social awareness about the relevance of
the commons, which both the old state-controlled socialist agendas as well
as the newer neoliberal ones had failed to recognize. Eventually, they led to
the postponement of the elections and, ultimately, to the ruling government’s
electoral upset in 2017. The 2016 protests proved the importance of
acknowledging the citizens’ participation in decision-making processes and the
need to fight and reclaim the violated and appropriated commons including the
control over the public space, regardless of who is in power.
The revolt against the organized amnesia that led to the counter-movements
and protests against the government was also a revolt against the preposterous
violation of visual culture in North Macedonia. The Colourful Revolution
opened many paths for discursive debates, both in political activist circles and
in the local art scene, around the issues of activist and protest art, the political
results of such creative actions. While some journalists debated whether these
actions were mere vandalism, assuming that the kitschy monuments were art,
art historians questioned whether the outcomes of the paintballing resulted in
action paintings, performance art, or artivism.
Stanojkoviḱ’s project What’s Left of the Colourful Revolution? applied
participatory and artistic research strategy. The artist assembled a kind of
multimedia microhistory and psycho-geography ‘map’ that accumulated
different outcomes of his artistic research and of his social intervention: the
Petition. Among various details of his long-term project are:
- a visual archive of the last traces of the protests. In the exhibition the
archive is presented as a kind of ‘forensic archaeology’ research – as an
animated slide projection of details of the barely visible remnants of the
paint-balling interventions on the monuments and buildings, and as a
collage on a Skopje’s map,

8
 - photo-collages of news clippings of published texts about the protests
(collated and glued on balls),
- Petition (2016) – a social intervention that was the artist’s ironic
art initiative comprising of a series of official letters that the artist
circulated to cultural heritage institutions requesting that the competent
governmental institutions declare monuments of cultural heritage the
last remnants of the 2016 protests,
- a discursive archive consisting of a participatory video (2018) that
collated the recorded and transcribed statements by ten participants in
the protests. Some of the loudest voices of dissent who initiated the 2016
protests channelled the disenchantments and the apathy of the activists’
community.
However most of these micronarratives, the personal recollections and
answers to the question of what’s left of the Colourful Revolution? concluded
with highlighting the induced solidarity between different ethnic communities
and the newly emerged awareness of the common interests and rights as the
most relevant outcomes of the protests. The events of the Colourful Revolution
were also a kind of collective attempt to create distance from the official
cultural policies and to reclaim the public space that revealed a certain potential
for ‘participatory and collective institutional critique.’ Stanojkoviḱ’s attempt,
however, to demand that the competent institution take full responsibility for
their questionable decision to declare monuments of cultural heritage some
of the kitschy monuments of Skopje 2014, turned into a Kafkaesque process.
The institutions either didn’t respond or their rare responses to the petition
to declare monuments of cultural heritage the remnants of the paintballing
revealed incompetence, a dereliction of duty and ‘transfer of responsibility.’ As
if nobody wanted to take the responsibility for preserving the recent memories,
not so much of the protests themselves, but of the memories about the contested
decisions and the failures of the protests’ goals in the protests’ aftermath. The
irony that while the last residues of the protests are disappearing most of the
monuments remained intact calls for new (re)actions.

1
The recordings were leaked to the media and revealed the long-suspected corruption and
organized crimes of various politicians. These illegally recorded and transcribed conversations
of the Macedonian political leaders caused the biggest ever political wire-tapping scandal in
the country, dubbed ‘Bombs’: http://vistinomer.mk/site-prislushuvani-razgovori-objaveni-
od-opozitsijata-video-audio-transkripti/ (in Macedonian with no English subtitles) (accessed
10.09.2021).

2
The protests first took place on 12 April, mainly in the central square of Skopje, but later
spread to other cities such as Bitola, Kumanovo, and Štip.

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1-2
Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018.
Video still, DVD, 19’
Statement from Xhabir Deralla,
activist, Civil.
Courtesy of the artist.

3-4 15-16
Sašo Stanojkoviḱ, What’s Left of the Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018. Colourful Revolution? 2018.
Video still, DVD, 19’ Video still, DVD, 19’
Statement from Zdravko Saveski, Statement from Iskra Gešoska,
PhD in political sciences, Levica (The Left). cultural worker.
Courtesy of the artist. Courtesy of the artist.

5-6
Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018.
Video still, DVD, 19’
Statement from Ivana Dragšiḱ, sociologist,
Ploshtad Sloboda (“Freedom Square”).
Courtesy of the artist.
17-18
Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018.
Video still, DVD, 19’
Statement from Sonja Stojadinoviḱ,
MSc. in International Politics.
Courtesy of the artist.

7-9 19-20
Sašo Stanojkoviḱ, What’s Left of the Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018. Colourful Revolution? 2018.
Video still, DVD, 19’ Video still, DVD, 19’
Statement from Biljana Ginova, Statement from Miroslav Draganov,
activist, Protestiram (“I Protest”). jurist, Faculty of Law.
Courtesy of the artist. Courtesy of the artist.

10-12 21-22
Sašo Stanojkoviḱ, What’s Left of the Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018. Colourful Revolution? 2018.
Video still, DVD, 19’ Video still, DVD, 19’
Statement from Irena Cvetkoviḱ, Statement from Suzana Milevska,
Coalition MARGINS. curator and theorist of art and visual culture.
Courtesy of the artist. Courtesy of the artist.

13-14 23-24
Sašo Stanojkoviḱ, What’s Left of the Sašo Stanojkoviḱ, What’s Left of the
Colourful Revolution? 2018. Colourful Revolution? 2018.
Video still, DVD, 19’ Video still, DVD, 19’
Statement from Mariglen Demiri, dipl. prof. Courtesy of the artist.
of philosophy, research assistant, ISSH.
Courtesy of the artist.

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Sašo Stanojkoviḱ, Petition, 2016-2018

The work Petition was based on an activist initiative that consisted of

6 distributed letters in Macedonian and the English translation of the
Petition.

Time line of the research:

12.05.2016
Writing and submission of the first letter-Petition

I submitted a formal Petition to the Ministry of Culture of the Republic

of Macedonia, Cultural Heritage Protection office. It was a proposal
to recognise, preserve, as well as immediately declare as a cultural
heritage the remnants of the colourful interventions on the monuments
and the buildings of the Skopje 2014 Project (on 12.04.2016 the
citizens of the Republic of Macedonia initiated the paintballing of the
monuments from Skopje 2014 project participatory protests that were
dubbed Colourful Revolution).

I’ve sent the same letter (Petition):

18.05.2016 - to the Mayor of Municipality Centre.
23.05.2016 - to The City of Skopje, Culture unit.

Answers

- 15.06.2016 - I’ve received an answer from the Ministry of Culture,

Cultural Heritage Protection Office that I have right to write petitions
and proposals, but that this institution had no authority and was not
responsible for cultural heritage issues.

- 21.06.2016 - I’ve received an answer from the Mayor of Municipality

Centre’s office stating that the Municipality of Centre transferred the
responsibility to The City of Skopje, Culture unit. However I’ve never
received an answer to my letter sent to this institution (on 23.05.2016).

- 01.06.2016 - I’ve sent the same letter to: National Institution

Conservation Centre- Skopje

No answer

- 26.03.2018 I’ve sent again the Petition to the National Institution

Conservation Centre-Skopje

No answer.

15
Sašo Stanojkoviḱ, Petition, 2016-2018.
Translation and fragment of the letter sent
to the Ministry of Culture of the Republic of
North Macedonia, 12. 05. 2016.
Courtesy of the artist.

Sašo Stanojkoviḱ
Franklin Ruzvelt 46 A1-5
1000 Skopje
Tel: 023228198
E-mail: sasostanojkovik@yahoo.com

Cultural Heritage Protection Office

Ministry of Culture of the Republic of Macedonia

12th May 2016, Skopje

PETITION
from
Sašo Stanojkoviḱ
MFA in Painting

Dear Sirs/Madam,

I am submitting this petition as a proposal to recognise, preserve, as well as immediately

declare a cultural heritage the colourful intervention on the monuments and the buildings
of the Skopje 2014 Project that the citizens of the Republic of Macedonia initiated as an
original artistic/participatory protest project entitled Colourful Revolution.

My key argument in favour of the claim that the protest actions of the Colourful
Revolution resulted in a participatory and collaborative artistic project authored by
the citizens of the Republic of Macedonia is the fact that present-day art has been
increasingly using alternative models and media of expression, and the artwork is not
just forming an imaginary or utopian reality but is becoming a way of life. That, in fact, is
nothing new: the French philosopher Jacques Rancière, for instance, reminded us that
ever since the Soviet Revolution painters had not painted their works on a canvas, but
‘framed’ the new form of life as art. While earlier the artistic object was on the pedestal,
the focus of present-day has been increasingly turning towards the subject. The artistic
language and the participation of numerous subjects in the execution also allow for an
unforced involvement of the citizens in engagement for social change, which has been
one of the main consequences of the Colourful Revolution. I would also like to point to
Henri Lefebvre’s concept of ‘the right to the city,’ which, among other things, includes
the following two principal rights: the right to participation and the right to appropriation.
The collective burst of creativity allowed all citizens to identify with the city and to claim
their right to it. So that, instead of being, as heretofore, a privileged place belonging
just to the political elites or the members of a single political option, of ethnic, gender or
religious affiliation, the city is becoming accessible to all citizens and they may organise
it according to their needs and artistic affinities. That is why with this petition I call for
the immediate protection against possible destruction of the traces of the Colourful
Revolution and its interventions, which constitute multinational and multicultural
monuments of the raising of civic awareness of the equal right of all citizens of Skopje
and of the solidarity among the members of various ethnic communities, parties and
interest groups.
1
Some of the new buildings and monuments, such as the Macedonia Arch (initially
conceived as an art sculpture), last May were awarded the status of cultural heritage.
They did not receive that status for their architectural value or age, but were placed
under protection ex lege—for their supposed artistic merit. Although the construction
and the setting up of these monuments has been questioned from many aspects, the
frequent criticism by the public, and even by art history and cultural heritage experts
has not been heard and the Skopje 2014 Project continued to receive new additions
even in 2015 and 2016. Criticism mainly referred to the inadequate use of space, the
style of the constructions, the materials used, their cost, as well as the incompetence
of the executors, some of whom are very young artists with really thin portfolios and
beginners’ resumes. In favour of the criticism is also the statistical datum that on the
territory of present-day Republic of Macedonia from Prehistory to September of 2014
only approximately 1,200 buildings have been protected, whereas only in May 2015 the
cultural heritage status was awarded to 10 three-year-old buildings.

Following the information of declaring some of the buildings of the Skopje 2014 Project
cultural heritage, the citizens’ rage built up, and that later affected the increase of the
support of the Colourful Revolution as well. (For instance, according to a survey of the
CIVIL non-governmental association, conducted as part of the project Free Elections
for Free Citizens, 85.70% of respondents are familiar with the demands of the Colourful
Revolution protesters, and 83.27% support them. The protesters achieved the colourful
effect by throwing paint and eggs at the sculptures of the Skopje 2014 Project. As many
as 75.57% justify the protesters’ actions, whereas only 16.87% disagree with this manner
of expressing revolt.)

With the mass citizen participation in the artistic/participatory project entitled Colourful
Revolution, with the colourful intervention the sculptures and the buildings got new
‘colours’ and concepts that correspond more to the space and time in which we live.
Thereby I believe that they now have the necessary merit to be declared cultural heritage.

This project helps overcome the passivity and rebuild the capacity for togetherness, self-
initiative and self-organising.

Considering that the Government, according to the unwritten rules of populism, in its
decisions often refers to the people, the fact that the Colourful Revolution involves
citizens of all ages, religions and nationalities, this led me to suggest that the colourful
interventions not be cleaned but preserved and declared cultural heritage. Let us preserve
the new monuments and buildings right now, while the paint and the memory are still
fresh, so that we are not accused of having a falsified history and memory and so that it
does not turn out, as in Braco Dimitrijević’s (1969) work, that: ‘There are no mistakes in
history. The whole of history is a mistake.’

Yours faithfully,

Sašo Stanojkoviḱ
2
What’s Left of
the Colourful Revolution?
(2016-2018)

1. Ministry of Culture of
the Republic of Macedonia

2. Cabinet of the President of

the Republic of Macedonia People’s Office – Skopje

3. Monument of the Fallen Heroes of Macedonia

4. Assembly of the Republic of Macedonia

5. The Constitutional Court of

the Republic of Macedonia

6. Ministry of Finance of
the Republic of Macedonia

7. Public Revenue Office of

the Republic of Macedonia

8. Public Prosecutor’s Office of

the Republic of Macedonia

9. State Market Inspectorate – Skopje

10. Bridge Freedom

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Sašo Stanojkoviḱ, An Archive of the Colourful Civil Disobedience, 2018.
Vitrine, photo-collage on a map (50 x 80 cm), installation view.
Courtesy of the artist.

21
Artist’s Statement
My art and research projects deal with groups or communities of people
who gather around certain common interests in art, aesthetics, and ethics.
I am interested in their informal gatherings and self-organised activities
that are neither registered nor institutionalised, and therefore are not
easily recognised as socially or aesthetically important. I use painting,
photography, video, performance, and other media in order to address the
relation between the formation of such communities and social, private
or public spaces inhabited by their activities (galleries, cinemas, parks,
homes). The ongoing project Deliberative Cultural Heritage looks at the
issue of commoning and the urgency of participatory and deliberative
conceptualisation of cultural heritage. Transfer of Responsibility (first
presented in 2018, Mobile Gallery, Skopje) is an exhibition that consists
of colourful and discursive archives of the remnants of the 2016 protests
in Macedonia, dubbed the Colourful Revolution. The exhibition includes,
among other works, a psychogeographic map of the visible and almost
invisible traces of the paintball interventions on buildings and monuments,
a video with ten participant statements responding to the question what’s
left of the Colourful Revolution? and an official Petition. This Petition
requested relevant institutions to proclaim the traces of the Colourful
Revolution as monuments of cultural heritage. The title of this exhibition
directly resulted from the lack of their response, or from the contents of the
rare answers that were deficient of taking full accountability, but abundant
of dereliction of duty and transfer of responsibility to other institutions.

Sašo Stanojkoviḱ

Biography
Sašo Stanojkoviḱ was born in 1962 in Skopje, North Macedonia where
he lives and works as an independent artist. In 2011 he received an MA
from the Faculty of Fine Art in Skopje. His instruction and participatory
performance To Whom it May Concern was part of David Medalla’s 2005
exhibition, curated by Guy Brett at the ICA – London. Justice in the Focus
(2004 - 2007), Space for Protest (2007-2012), and Transfer of Responsibility
(2018) were projects dedicated to various protests in Washington D.C.
and Skopje. Stanojkoviḱ participated in the exhibitions Always Already
Apocalypse (Yildiz Cultural Centre, 1999) and in ...and... (Military Museum,
2003), in parallel to the 6th and 8th International Istanbul Biennale. He is
a member of the artist’s collective London Biennale Artists and DLUM
–The Association of Macedonian Artists. He participated in numerous
international exhibitions and biennales in Skopje, Istanbul, Belgrade,
Stockholm, Madrid, London, Berlin, Miami, Boston, Ljubljana, Zagreb,
Braunschweig, Bucharest, Sarajevo, Athens, Thessaloniki, Montevideo, New
York, Guangzhou, Zhejiang, Graz, Melbourne, etc.
Transfer of Responsibility
Artist: Sašo Stanojkoviḱ

Gallery MC, New York

549 W 52nd St, New York, NY 10019, United States
November – December 2021

Curator, text, and catalogue’s editor:

Suzana Milevska

Text:
Alenka Gregorič

Catalogue’s design and layout:

Darko Aleksovski

Printed by Arcuss Design

Print run
400

Acknowledgements and dedications:

Sašo Stanojkoviḱ would like to thank the participants of his research and
the video What’s Left of the Colourful Revolution? - Xhabir Deralla, Ivana
Dragšiḱ, Zdravko Saveski, Biljana Ginova, Mariglen Demiri, Iskra Gešoska,
Irena Cvetkoviḱ, Sonja Stojadinoviḱ, Miroslav Draganov, and Suzana Milevska
- for their sincere statements, and for their dedicated contribution to the civic
freedoms and awareness of the power of solidarity for socio-political change.
He also wants to thank all institutions that responded to his Petition - even if
negatively.

The exhibition and the catalogue were realised with the support of
the Ministry of Culture of North Macedonia, and the Mobile Gallery (CAC Skopje).

© 2021 the authors, all right reserved.

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