Vlado Goreski - 30 Years - International Triennial of Graphic Art Bitola - ITG Bitola, Monography

Владо Ѓорески Vlado Goreski
30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ

30 YEARS INTERNATIONAL TRIENNIAL OF GRAPHIC ART
ИГТ ТРИЕНАЛЕ БИТОЛА-ITG BITOLA
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10 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ БИТОЛА- ИГТ БИТОЛА
10 INTERNATIONAL TRIENIALL OF GRAPHIC ART BITOLA-ITG BITOLA
ИГТ БИТОЛA ITG BITOLA
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30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ ИГТ БИТОЛА 30 YEARS INTERNATIONAL TRIENNIAL OF GRAPHIC ART ITG BITOLA 10 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ БИТОЛА- ИГТ БИТОЛА
10 INTERNATIONAL TRIENNIAL OF GRAPHIC ART BITOLA-ITG BITOLА
1 - 2. ...дневнички записи...
Конкретните активности за реализацијата на првото меѓународно графичко триенале
започнаа во 1992 година. Владо Ѓорески и Љубен Пауноски, самоиницијативно и скоро
приватно и творечки во таа година да ја одредуваат неговата концепција, архитектоника
како и начин на неговата реализација. Беа изготвени покани и апликации за учество според
примероците на триеналето во Кочи, Јапонија, беа и обезбедени и адресариуми од графичкото
биенале во Љубљана и Краков. Идејата за неговото создавање, потекнува од многу поодамна.
Владо Ѓорески, често престојуваше на подолг период во Љубљана, а во одредени моменти и
директно беше дел од работењето на Меѓународниот графички центар и Графичкото триенале
во Љубљана. Оттогаш е и идејата, Битола, да биде еден од центрите на светското графичко
творештво. Многумина, Меѓународното графичко триенале го поврзуваа со битолското
триенале на современата југословенската графика. Овие две манифестации имаат многу
малку заедничко во организацискиот, идејниот и творечкиот концепт. Последното, 7. триенале
на југословенската графика, се одржа во 1987 година и оттогаш сосема згаснува напоредно
со распадот на Југославија. Немаше ни желба, ниту некакви конкретни активности за негово
понатамошно опстојување.
Во 1992 година беа воспоставени и директни контакти со Богдан Кршиќ, директорот
Графичкото биенале во Љубљана и Витолд Скулич, директорот на Графичкото триенале во
Краков, тогаш двете најзначајни светски графички манифестации. И Кршиќ и Скулич дадоа
целосна поддршка на новоформеното битолско триенале, а од главниот центар на светската
графика – Интерграфика, во Краков, беа обезбедени најзначајните податоци, адреси и
организациски елементи за реализацијата на идното графичко триенале во Битола. Владо
Ѓорески беше и поканет, во тој период во жири на Краковското триенале.
Првите покани до уметниците беа испратени кон крајот на 1992 година, зад овие
активности немаше никаква институција од градот, манифестацијата настапуваше како
самостоен фактор, како впрочем и неговите основачи и организатори. Првите графики почнаа
да пристигаат во 1993 година, триеналето беше понудено како манифестација на НУ Завод,
музеј и галерија Битола. Ова, на некој начин можеби значеше и губење можноста да добие
самостојна и потполно автентична културна манифестација по ранг соодветна со Охридско
лето и Струшките вечери на поезијата, а по бројот на земји учеснички и на повисоко ниво
од споменативе две. Тоа го докажа самото Прво графичко триенале, веднаш рангирано меѓу
значајните светски графички манифестации.
Во третото триенале извршени се бројни промени: променето e логото, автор – Владо
Ѓорески, беа додадени и целосните наслови - Меѓународно графичко триенале МГТ – Битола.
Беше расформиран целосниот непродуктивен организационен одбор, а Владо Ѓорески стана
уметнички раководител. Беше изменет и неговиот организациски и идеен концепт, со што
оваа манифестација повторно започна меѓународна одисеја со цел опстојување, одржување и
постоење на овој „сон“ формиран под вдахновение, поука и поткрепа од најзначајните светски
графички манифестации.
Третото триенале, воведе и зададена тема, со цел, авторите да создаваат графики
кои ќе бидат исклучиво создавани за Битола, така што самата манифестација да добие свој
автентичен идентитет во однос на останатите светски манифестации. Ова наиде на одличен
одзив од творците и значеше своевидна рехабилитација. Во таа насока беше и четвртото со
што беше заокружена втората фаза во неговата идејна архитектоника.
За третата, суштинска етапа во неговото понатамошно компактно опстојување, голема
улога изигра и Херман Хеблер, еден од најзначајните светски графичари како и директор на
истакнатото Графичко триенале во Фредикстад, Норвешка. Тој беше во Битола, како еден од
најзначајните светилници во изнаоѓањето на духовната светлина во ликовната уметност-чиста,
спиритуална, метафизичка.
5
Со неговата најискрена посветеност, љубов и најпозитивен став и сугестии откривајќи ја
можноста за идното опстојување на битолското триенале, посочи одредени елементи кои
беа многу блиски до идејата, идеалот, мислата за графичкото творештво и неговото живеење
преку овие графички случувања.
Оттогаш триеналето изгради сосема свој и автентичен концепт, кој се темели на сосема
различни начела од најголем број на светските графички настани.
Првата најважна тенденција – учество на сè поголем број на држави и автори од сите графички
меридијани – со што директно се избегнува националниот елитизам и хиерархизам на
одредени, најчесто големи држави.
Втората тенденција – овозможување на учество на секој автор од каде и да е. Работењето
на селекционите комисии многу често се претвора во издвојување, односно, тенденциозно
претставување на одредени автори и одредено исто така тенденциозно отстранување на
одредени автори, или, освен техничките пропусти, кои и не се дел од таканареченото работење
на селекционата комисија, ја сведуваат оваа групна „хајка“ наречена селекција, до апсурд и до
севкупната денешна слика на светот, најчесто бесмислена.
Третата тенденција – наградувањето. Тоа исто така е поврзано со претходните две,
односно едни исти автори или речиси по правило автори од одредени „доминантни“ држави
постојано и насекаде ги добиваат истите награди, со што се создава опасен затворен круг. Дали
наградувањето на одредени автори е објективна формула? Од каде тоа право на одредени
луѓе да пресудуваат за други и според кои правила?
Четврта тенденција – избегнување на секоја естрадност и шаренолико наметнување пред
јавноста. Тивко, мирно бесшумно постоење, затоа што создавањето во вистинската уметност е
архивирање на духовните состојби кои се подалеку од сите лаги бучни и агресивни.
Севкупното денешно постоење на графичкото триенале во Битола е изградено на своевидно
манифестно кредо, кое има желба да биде подалеку од сите денешни „бурни“ настани кои
завршуваат до следното утро.
Деветтото графичко триенале, успеа да собере автори од 156 држави, што го направи
единствено во светот, тоа е безрезервно признание од сите графички ателјеа, успеаја
патетичните таканаречени награди од типот „гран при“, рамноправни, итн., да ги сведе на
своевидна бласфемија, наградувајќи ги авторите на едно сосема друго начело што не се
применува никаде, на општо, инспиративно задоволство и мотивација на сите автори, а која е
и другата цел на наградувањето освен ова?
Десеттото триенале продолжи со ова верување, со ова единствено верување и убеденост,
издвојувајќи го битолското триенале како единствена пројава низ светот, дали позитивна,
негативна, полезна, непродуктивна, е релевантно, времето одлучува за сè, а нам ни останува
единствено малку хуманизам и човекољубие, ако сè уште некаде постои.
Какви ќе бидат следните триеналиња, единаесеттото, дванаесеттото..., очигледно ќе зависи од
она што се случува во светот кој што тргна во последниот чин од трагичната или трагикомичната
драма.
6
3. ...метаморфози...
Edna mala tuku{to sozdadena dràva, ja vlea svojata nade` i verba vo sebeot
krivaweto i povrzuvaweto so svetot. Iako taa zad sebe i pred toa ve}e ima{e ostvareno
zna~ajni povrzuvawa so svetskiot poetski zbor preku Stru{kite ve~eri na poezijata, ili
muzi~kiot preku Ohridskiot me|unaroden festival... vo likovnata sfera, za àl, slu~u-
vawata i po nejzinoto sozdavawe bea pove}e incidentni, ras{trkani i sepak bez pogolemi
geografski radiusi, so isklu~ok na poedini zafati.
Vo sredina koja i geografski i istoriski skoro da e predodredena kon likovnosta
so bezbroj izvonredni artefakti od site civilizaciski epohi i bez preteruvawe so golem
broj dela od umetni~ko - planetarno zna~ewe, zalagaweto, entuzijazmot, optimizmot, po-
trebata za sozdavaweto na edno me|unarodno grafi~ko trienale ima{e i ima svoja dlabo-
ka energija, motiv.
Vo po~etokot sozdavaweto na ovaa manifestacija ode{e po edna zacrtana etapa vo
koja najva`no be{e da se dovikaat kolku moè pove}e avtori i dràvi kako i da se najavi
na{eto postoewe i sekako na èdnata likovna sredina vo Makedonija da i se dostavat
kolku {to moè pove}e likovni iskustva.
Golemiot odziv go ostvari sonot na edna zemja koja kopnee{e za svoe mesto vo sve-
tot.
Grafi~koto trienale prerasna vo likovna manifestacija od me|unarodno zna~ewe
i u{te od po~etokot se vpi{a i se vbroi vo semejstvoto na svetskite grafi~ki institucii,
a {to e najva`no be{e vospostavena bezgrani~na komunikacija i iskrena otvorenost.
Odedna{ istaknatite svetski avtori, se pretstavija, bea locirani vo Bitola na op{to za-
dovolstvo i radost so dela koi vo isto vreme kruèa i niz najzna~ajnite grafi~ki centri
vo svetot. Isto taka ne e za potcenuvawe i faktot deka doma{nite grafi~ari i nivnite
dela bea ponudeni na svetot.
So ova zapo~naa osnovnite principi na funkcionirawe: organizaciska zamisla i
vizija za ponatamo{niot ìvot na ovaa za nas, edna od posu{tinskite formi na komunik-
acija so svetot. Tretoto trienale ja odrà praktikata od prvata etapa.
Denes posle re~isi {est godini postoewe smetame deka funkcioniraweto i pulsir-
aweto na ova likovno zbidnuvawe, vreme e da premine kon nova etapa, kon nov na~in na or-
ganizirawe, nov koncept, nova komunikacija - pred сè ne vo organizaciski karakter tuku vo
istraùvaweto na idejnata kosmogonija na sozdavaweto na grafi~koto delo formata na
odrùvawe manifestacija od panoramski karakter ve}e e na pragot da ja istro{i idejata,
da ja banalizira komunikacijata i {to e najneprijatno da go smesti grafi~koto trienale
od Bitola vo edna pozicija na satelitsko kruèwe i otslikuvawe na ona {to se slu~uva
vo najzna~ajnite svetski grafi~ki centri. So ogled na multioriginalniot karakter na
grafikata pravej}i eden ist motiv da propatuva niz pove}eto otisoci vo isto vreme niz
razli~ni sredini bez ogled na nivnata oddale~enost, opasnosta od povtoruvawe be{e
pove}e od o~igledna.
Tretoto grafi~ko trienale Bitola 2000, go promeni konceptot i su{tinata na svoe-
to postoewe, a novata forma na komunikacija i koncept e poimot TEMA (iako na prv pogled
toa izgleda{e najrizi~no i „najnedemokratsko“ uslovuvawe za umetnicite).
Temite 2000 GODINI HRISTIJANSTVO i metamorfozi se samo uslovno zadadeni
razmisli, pra{awa, preispituvawa - ne tema ami èlba za svoeviden avtenti~en dijalog
so avtorot.
So ogled na toa {to temite vo umetnosta kako i vo ìvotot se ve~ni a razli~na e
samo formata na nivnoto izrazuvawe (Bog, @ivot, Qubov, Smrt, Son itn.) smetame deka
temata 2000 GODINI HRISTIJANSTVO e ne samo èlba tuku i golema potreba da pro-
govorime zaedno so AVTOROT na po~etokot na noviot milenium za edna od su{tinskite
~ove~ki -civilizaciski temi - Idejata, ~uvstvoto, verbata, molitvata za Boga - i toa ne na
transparenten ili prigoden na~in, tuku kako fluid na postoeweto i sozdavaweto.
Bog e nasledeniot arhetip na ôve{tvoto, preku hristijanskiot jubilej sakavme da
go pobarame arhetipot za Boga niz site kontinenti, niz site religii, niz site du{i -
7
apsolutno jungovski. Svesta deka se nao|ame ili sme pred beskrajniot {irok pat kon ~u-
vstvuvaweto i sfa}aweto na najsvetlata, najseopfatna dobra du{a - BO@JOTO - ni dade
hrabrost, izdr`livost, verba, pa duri i drskost, da ja postavime ovaa tema gledano od
spiritualen, metafizi~ki i vonvremenski karakter.
Na na{a golema radost avtorite ne samo {to ja prifatija na{ata èd za iskren di-
jalog so niv tuku i ni ponudija dela koi go sodràt tokmu toa ogromno arhetipsko more na
simboli, znaci, {ifri i poraki od Bo`ji karakter, so {to sega ve}e vo Bitola, moàt da
se sretnat nepovtorlivi i premierni dela koi na odreden na~in si dozvoluvame, neskrom-
no da izjavime deka imaat vrska edinstveno so ova trienale, nekoi dela duri so svojata
tainstvenost i potsvesna dlabo~ina moàt da bidat predmet na celi studii od najrazli~ni
aspekti.
Insistiraweto za nekakva estetika, sovremenost ili stilski dvièwa prejde vo vtor
plan, zo{to smetavme i smetame deka umetni~koto delo sepak treba da progovori za sr`ta,
su{tinata na ìveeweto, na postoeweto i nepostoeweto. Poimot selektivnost staven vo
vakov kontekst ponatamu za nas kako organizatori be{e irelevanten. Poimot manifestacija
koja bara reklama ili potro{uva~ka mediumska pokrienost e skoro izli{en.
So vakviot koncept Bitola ne gi povika umetnicite da gi slavi i da im aplaudira - Bi-
tola gi povika umetnicite za mig preku svoite dela, preku svoite soni{ta, preku svojata
iskrenost da ja pobedat osamenosta, nerazbiraweto, otu|enosta, suetata, omrazata, molkot.
I kolku sepak pamfletski i idealisti~ki da izgleda seto ova, Bitola bez dvoumewe
gi povikuva i ponatamu }e gi povikuva umetnicite najmnogu za da ja podotvorat vratata na
DOBRATA DU[A.
Idnite trienaliwa povtorno }e bidat so TEMA za qubovta, ìvotot, ve~noto patuvawe,
apokalipsata na smrtta. Veruvame deka se toa temi za koi sakaat - sonuvaat najiskreno
da progovorat site avtori. Veruvame deka se toa temi za koi sekoj avtor bi sakal da mu
bide nara~ano delo. Vo edna vakva postavenost nie pove}e ne gledame manifestacija, tuku
beskrajno veruvawe, i tendencija idnite katalozi da bidat idnite grafi~ki trienaliwa }
e bidat najavtenti~na antologija, ispovest i arhetip - so koi postojanoto JAS na ~ovekot
eden den }e se zameni so enciklopedijata na Angelskiot univerzum.
Dali umetnosta vo tretiot milenium }e moè da bide eden od akceleratorite na
idnoto beskone~no ~ovekovo patuvawe?
So podtemata METAMORFOZI sakavme samo u{te pove}e da ja akcentirame ve}e spomena-
tata glavna tema.
Vo preobrazbata na linijata, na formata, na svetlinata, na idejata, na kompozicijata
se obidovme i posakavme da im dademe mo`nost na avtorite vo momentite na igrata da se
vratat na prapo~etokot, na prvi~niot blesok na svetlinata, na formata, na konceptot koi
se sepak Bo`ji fermenti {to gi nosime od na{iot praiskon.
So golema èlba bitolskoto grafi~ko trienale da pora~uva, da ponuduva, da poba-
ruva, da razrabotuva, moème slobodno da objavime deka ponatamu nemame pretenzii i
ambicii da bideme manifestacija koja unificirano }e se dviì niz me|unarodnite para-
leli tuku sredba vo koja }e se griìme so seta na{a beskrajna qubov, postojano da gi
otkrivame na{iot odamna zaboraven detski govor i igra.
Tretoto grafi~ko trienale Bitola - 2000 godina mu go posvetuvame na Bela Hamva{
i negovata Scientia Sacra...
8
4. ...сенката на љубовта...
...Umetni~kiot izraz, likovnosta e kompleksen sistem na odnosi, formi, sodrìni,
zna~ewa...(D. Ki{)
Magi~niot karakter na grafi~kiot list сè¡u{te ja nosi tajnata na multiplikacijata

na slikata - koja se pojavuva ne za da ja prepovtoruva suetno edna ista ideja, ~uvstvo,
vizija - tuku za da gi propatuva znajnite i neznajnite ostrov~iwa, problesnuvaj}i kako
svetilnik i poraka od koe bilo vreme, od koj bilo prostor, od koja bilo sfera...
Denes, sledej}i go najmnogu onoj borhesovski princip deka deloto ìvee samo ako go
nadmine avtorot, patuvaj}i, rastej}i, sozrevaj}i niz sferite na {to pobrojnata publika, se
~ini deka grafikata i knigata se najbliski i najostvarlivi kon ovoj univerzum: avtorovata
matrica ne samo {to ne se multiplicira (reproducira) tuku minuvaj}i niz {to pobrojnite
duhovni prostori dobiva novi vrednosti, novi vizii, sistemi na odnosi, formi, zna~ewa...
Taka, moèbi site go sonuvame istiot son, no kaj sekoj, toj son dobiva barem edna
nota poinakva, a na krajot sepak zaedno go sozdavame golemiot i dlabok okean na besk-
rajnite sliki od koi e sostaven na{iot сè¡u{te ìv i ìlav odbranben sistem nasproti
site obop{tuvawa, racionalizmi, povr{na ednolinejnost.
Vo vreme koe se¡ pove}e e zafateno so eden seop{t potop od zborovi, sliki i tonovi
- сè¡ pove}e zboruvame, a сè pomalku se slu{ame ili razbirame, сè pove}e se gledame, a сè¡
pomalku se prepoznavame, zamenuvaj}i go boèstvenoto so trivijalnosta na sekojdnevnoto,
plovej}i niz obeskompaseniot prostor - pojavuvaweto na сè pobrojni grafi~ki manifestacii
ima mnogu podlaboka smisla i motiv otkolku obidot da se prikaàt kako presti`ni i
afirmativni. Sekoja od ovie manifestacii e vistinski problesok na optimizmot, novo
pristani{te vo koe se vkotvuva postojaniot ìvot na na{eto zaedni~ko polifonisko sonu-
vawe. Tie se u{te edna potvrda deka postojat mesta kade {to сè u{te moè da se slu{ne
zaboraveniot vistinski glas ili povtorno da se otkopa Orfeevata nostalgija, taa tivka
pesna od dlabo~inite na li~nata ispoved neraskinlivo povrzana so melanholi~nata har-
monija niz koja i ponatamu, nasproti сè¡ strujat polnokrvnite pulsirawa na vistinskiot
ìvot i bezbrojnite prepovtoruvawa na svetlinite i praslikite od soyvezdijata vo nas i
nad nas.
Gledano od likoven jazik, smetame deka ne treba da zaboravime ili da go ignorirame
moèbi su{tinskiot patokaz niz koj neumorno i uporno ne gleda seop{tata mudrost na
ìvotot niz naslikanoto oko na Rembrant i okoto na Angelot od Kurbinovo: ta`no, ironi~no,
vedro, mislovno, rableovski, ~ehovski... proro~ki, izludeno vo bolka, izludeno vo sre}a, al-
hemiski zgusnato vo kristalite na svetlinata {to istovremeno gi osvetluva civilizaciite
minati i idni.
Toj iskonski potez na rakata koj i bez da znae go islika pe~atot na site vremiwa i
na site poznati i nepoznati sferi, po vtor pat ni be{e svoevidna intonacija vo ~ii ramki
sakavme da go postavime i ova ~etvrto po red grafi~ko trienale vo Bitola.
Ako na prethodnoto so edna sosema diskretna naznaka, se obidovme da go svrtime vnimani-
eto na avtorite i publikata vo odnos na edna ve~na tema ôvekot i bo`joto kako eden
sosema logi~en prosled, na ~etvrtoto se obidovme diskretno da go iznijansirame akcentot
@ivot - Qubov. I toa ne kako tema, ne kako pora~ka, tuku pove}e kako svoeviden star vio-
linski klu~ koj bi trebalo da gi otvori ve~nite porti vo koi se krie nepreglednata tajna
na qubovta i ìvotot, nepromenliva vo ve~noto traewe.
Golem del od avtorite, na vistinski na~in reagiraa i ja po~uvstvuvaa ovaa na{a po-
raka, neoptovareni so poimot zadadena tema - zo{to qubov e i koga se zboruva za najele-
mentarnata linija, ritamot, varijantite na postojanoto gradewe na kosmogonijata na kom-
pozicijata; ìvot e i koga na site mo`ni na~ini }e se prozbori za nego: parodija, ironija,
son, eros-tanatos, groteska, voznesenie, vozvi{enost, poetika, metafizika, igra, osamenost,
ìvot e i koga }e se prozbori i za vistinskoto mol~ewe ili {epotewe na slikata...
Niz cel ovoj prosled, niz siot ovoj broen yvezden omnibus na grafi~kite sliki
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êtvrtoto grafi~ko trienale go gradi svojot pristani{ten identitet.
Vakviot na~in na idejna postavenost ne slu~ajno gi izbra starinskite “izìveani”, “neak-
tuelni” koncepciski formi - nasproti сè pobrojnata produkcija na novi viduvawa, distancirani
od tradicijata na mediumot; instalaciskiot pana|ur i pazar, cini~en i ironi~en presti` na nik-
oga{ nedosti`nite likovni metropoli koi se obiduvaat da go menuvaat pogledot i ~uvstvata za
svetot, spored nekoja druga linija, motiv i finansisko patronstvo.
Nie сè u{te veruvame deka preku vakvoto dovikuvawe, moèbi, po mnogu godini }e ostane
barem nekoja slika ili nekoj fragment od nekoj avtor (zar e bitno imeto) koja }e bide svoevidna
to~ka, horizont od koj сè u{te }e moè da se pogledne @ivotot, ôvekot... Potsetuvawe? Istorija?
Za na{iot vek? Ili odrùvaweto na energijata koja ne se promenila od ra|aweto na prvata yvez-
da, energijata koj ne go promenila ve~niot zdiv na @ivotot i ve~niot ritam na Qubovta.
I сè dodeka postojat i se ra|aat novi grafi~ki svetilnici od Ural do Peking, od Bopal do
Portoriko... imame pravo da veruvame deka duhot na kosmi~koto Rembrantovo i angelsko oko e vo
nas, i go ~uva na{iot vistinski vnatre{en pogled zaradi koj ima smisla da se Veruva, da se Qubi,
da se @ivee i Sozdava!
5. ...лица и знаци...
Во врето на потполната глобализација и дефинитивниот триумф на Материјата, некаде
се изгуби кратката вистина за човекот. Вистина која се движеше по обратната линија на
еволуцијата, линија која пропадна или потона низ бескрајните лавиринти на едноличните
метрополи.
А вистината беше мала, едноставна и тивка-сместена во човековиот поглед, лик...
Дали темата на Битолското триенале „Лица и знаци“ беше само некакво носталгично, магловито
сеќавање или желба да се откопаат заборавените светлини или беше само уште една утопија
наспроти незадржливиот „прогрес“? Одговорите можеби ги знаат авторите чии дела се
во Битола и во овој каталог, собрани сега и во не толку јасна абецеда на државите, делава,
графичките листови повеќе наликуваат на некаков археолошки прирачник за изгубените души
или архивска антологија за лицата што некогаш имаа име.
Наспроти новата инкубаторска цивилизација - не само овде, туку и во поголем број на
музеите во светот, тргна нова група, која можеби не знае толку зошто, туку каде да ги бара лицата
и нивните белези: во погледите на Мона Лиза: од другата страна, од онаа на безвременото во
кое е сместено нашето огледало дали ќе се препознаеме? дали ќе го најдеме нашето изгубено
лице? некој се сетил дека во овие тивки и осамени места (музеите во набоковска смисла) сè
уште постои некаква пајажинеста патина во која е уловен краткиот лик на вистинската насмевка,
мечта или тага како заборавена азбука на животот. Дали од последното силиконско скалило на
Вавилонската кула можеме да ги забележеме Лицето на последниот човек таму долу каде што
нè пребаруваат со изразот на тукушто паднатиот ангел?
Битолското триенале имаше само една скромна цел и желба: да ги поттикне уметниците од
целиот свет, повторно да прозборат за вечните и можеби заборавени теми, а една од нив,
како најважна е чобековиот лик - доминантен низ сите епохи. Без оглед на сите денешни
стилски преокупации и окупации, без оглед на сите движења-естетски и трговски, сепак,
Ликот во творештвото е последниот артефакт денес за нашето кратко и трагично опстојување.
Во сеопштото отсуство на духовноста и љубовта, единствено, погледот од ликовите остана
нечепнат, неклониран, како чист извор на солзите и светлината. А некои од уметниците,
можеби се последните пророци за безбројните нијанси наталожени во тие изгубени, скриени
очи. Дали ова ретроградно и анахроно сублимирање пред Ноевата арка е последната надеж,
повторно да го откриеме својот нејасен лик во зениците кои со векови, скришум и тивко нè
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гледаат и нè очекуваат? или тоа е едноставно, дефинитивно збогување со досегашната историја
на Животот?
Со оглед на големиот точен и „оптимистички“ одзив на авторите од целиот свет и општата
рамнодушност, не само во средината каде што се случува овој последен комичен карусел, се
чини, ако ништо друго, барем за кратко, сосема кратко се откопаа закопаните соништа, за потоа,
веднаш, да бидат заборавени, како никогаш и да не биле...
6. ...последниот остров или осаменост...

Последниот тестамент на човештвото е закопан на некој пуст остров, осамен до ужасна
болка, загубен во празниот простор, подалеку од вечноста а поблиску до вечната ништожност.
Во последниот тестамент на човештвото, далеку некаде, на пустиот осамен остров, скапува
љубовта, напуштена одамна, заборавена, во прашината на исчезнувањето. Последната љубов,
последниот остров - опкружени со единствено вечниот пулс на брановите, на водата, на истото
оплакување и низ мракот и на сè побледата светлина.
Ќе го најдеме ли она што некогаш е жнеено низ виножитните полиња, кога детето- човек знаеше
вистински да се смее?
Низ колку залези треба да се пребарува единствената ѕвезда, што знаеше да го осветлува
патот?
Во што да веруваме, на што да се потпреме?
Одамна го заборавивме тоа далечно пристаниште во кое сè растоваривме и сè оставивме,
па, не знаеме минувајќи еден покрај друг, кои бевме, непрепознавајќи се, без мисли, без
вистински зборови, бездушни, изгубени, со омраза, со загушлива неподносливост, со стравови...
И ете стигнавме и до Шестото меѓународно графичко триенале, радувајќи се на секој
пристигнат лист, како на отисок и лековит допир на дланката. Секој ден по некој или неколку
лисја - oд далечниот и последен остров?
Од осамените карпи и спили на радост во изумирање - на авторите, уметниците што
лебдат за кратко низ воздухот,призраци?
Стигнавме, мачно, тешко, до оваа манифестација сè помалку потребна, сфаќајки дека
последниот остров потонал во непознатите и бескрајни длабочини на осаменоста и сите овие
дела патувале до нас со светлосни и темносни години, патувале од детството на минатото кон
иднината што никогаш нема да ја допреме.
Па да тргнеме, сепак по непознатиот пат, до исчезнатата Китера. Ќе ја најдеме ли? Ќе
стигнеме ли? Ние исполнетите со празното Себе, и одбрани да ги доизгазиме уште малкуте
вистини што останаа...
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7. ...sвездени светлини...
Од кога постои човекот, неговата најдлабока загледаност, неговиот постојан поглед е
свртен кон sвездите.
Какви тајни, каков дом кријат тие?
Величествен бескрај? Безбројни вулкани на светлината? Непознато студенило?
Всушност, севкупната таа загледаност, во која се собрани сите недовршени прашања за
животот за смртта, понекогаш толку очајни, толку низ далечините залутани...
Сиот тој Свет, за кого мислиме дека е надвор и далеку од нас е тука - во нас.
Погледот во sвезденото Ван Гогово небо над Арл е погледот кон кристално блескаво
огледало. Огледало во кое и низ кое се огледува нашето постоење, нашиот исконски поглед.
Зошто постојано бегаме од себе, мислејќи дека тоа таму е далечината која никогаш нема да ја
достигнеме.
Тоа таму, тоа грандиозно таму, е тоа малечко овде: тој блесок на безбројните sвезди е
блесокот и пулсирањето на нашите срца - светлина која нежно се разлева низ густото темно
синило барајќи ја ветената љубов или одговорот на нашата заедничка химна која што заедно
ја мрмориме со кружното Земјино совршенство.
Нашата заедничка хармонија од прапочетокот на она што мислиме дека е животот, до
сите пори на она што мислиме дека е безживотна пустина.
И колку повеќе загледани во далечините се запрашуваме или си играме со „одговорите“,
толку повеќе живот ни минува низ прстите како драгоцена златна прашина. Животот е таму
каде што е и „смртта“, смрттта е таму каде што е и „животот“, за животот, за смртта додека
сè е еден голем заеднички сон, заедничка илузија, само лесно, бестежинско пловење, низ
„празнината“ без време.
Овогодишното триенале има еден малку видоизменет редослед. Започнува со
едицијата „Портрети“ и со неколкумина автори заедно со сублиматот на нивниот опус низ кој
што исконската загледаност, таа детска загледаност е просеана низ нитките на творештвото,
низ талогот на времето, низ остатоците од бројните чувства на оние што биле и оние што ќе
бидат - опус кој секогаш е само мал трепет, краткотраен блесок, здив на она што сè уште се
нарекува живот: нудејќи ни ги килибарните зрнца на згуснатата светлина - не како утеха, не
како духовна верба, туку како малечки патокази, светулки кои нè водат низ патот до самите
нас. Храбро и самооткажано. Подалеку од сите суети и непотребни апсурдни самоуверености.
Темата „Океани и соsвездија или животот во огледалата“ е само мала, почетна иницијација
кон исцртувањето на големиот наш заеднички автопортрет.
8. ...изгубени исповеди...
Осмото меѓународно графичко триенале во Битола, го обележува своето дваесетгодишно
опстојување, период кој еден вид на заокруженост на колективниот уметнички израз, оформен
од безбројните еклиптики на постојаното изнаоѓање, исповест, чувственост, копнеж да се
надмине баналното и конечно да се достигне вистинската длабока комуникација во хармонија
со сè.
Досегашното присуство од околу 5.000 автори од цел свет, со уште поголем број на дела,
денес антологиски разгледано, преиспитано, повторно оживеано, изгледа како своевидна
реминисценција на човековата сизифовска опсесивност да се биде во она што сè уште така
амбициозно го нарекуваме цивилизација.
Низ изминативе децении, упорно и со метрономска повторливост, беше поставена
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да го промени, да го облагороди, да го осмисли постоењето на човекот.
Сиот досегашен труд на авторите, да го докажат или да го постигнат недостижното,
забележан овде низ дневниците - каталозите, сè повеќе е затрупан со густа непробојна прашина
на заборавот, рамнодушноста, ништожноста.
Осмото триенале иако се обидува со присуството на беспрекорната и разновидна
естетика и со најновите гласови на надежта или егото, којзнае, да создаде или обезбеди
некакво алиби за неговото постоење и за постоењето на уметноста воопшто, денес, се чини,
по многу силни, цврсти и убедливо точни одредници од секаков вид - не само што не успева
чекор понатаму во растргнувањето на севкупната густина на магловитото исчезнување, туку,
парадоксално, обидувајќи се да докаже дека во секој обид во кој има и најмала содржина на
културен контекст, стрмоглаво се движи кон брзиот и дефинитивен заборав и непотребност.
После децении, имајќи ги предвид севкупните незаинтересираности од сите можни
урбани пејзажи на човековата суета и секогаш величествена амбиција по слава, моќ и алчност
кон материјалните панаѓури, се прашуваме дали и кому воопшто денес му требаат овие
анахрони манифестации, и за што? Толку далечни и ретроградни наспроти сè побрзиот и
славен атлантидски прогрес.
9. ...талози...
Деветтото меѓународно графичко триенале, Битола, е со малку поинаков концепт од
претходните.
Настојувањето, желбата, инспирацијата беше да се состави антологија на современите
графички создавања во светот. Затоа беа опфатени и сместени голем број на држави (над 160).
Творештвото, создавањето, насекаде има еден првичен, исконски мотив, љубов - да се поврзи
безрезервно светот со она што единствено вистински го поседува Човекот: чувствата, мислата,
сонот, љубовта.Човештвото е всушност сето тоа споено во една неуништлива светлина.
Целта на ова триенале е да се покаже и открие дека во сите делови на светот: некаде
потонати во најстрашни војни, некаде во очаен глад, осаменост, раскош, диктатури и неслободи
од секаков вид, насилства, идеализам, лажни демократии, мачни обиди да се допре еднаквоста,
правдата, енормно богатење, енормна сиромаштија, утопии, верби, порази, страдања,
раскалашни потрошувачки дивеења, баханални уживања, сонувања, сонувања кошмари,
сонувања надеж итн. насекаде, уметноста, особено графиката е со една иста заедничка црта,
тенденција, неверојатна „колективна“ потреба да се будат чувствата, мислите љубовта. Не
постојат разлики. Постои само таа светла површина како порака за можното опстојување на
човекот и човештвото.
Битолското триенале е замислено како мост, како отворени врати, како чиста и искрена
состојба во која вечноста е всушност овој скоро скришен, краток миг на планетарното
создавање. Присуството на бројните автори само докажува дека уметноста не е елита или
привилегија туку вистинска и најдлабока потреба за да се остане Човек.
Покрај ова, меѓународното графичко триенале, го задржа албумот на минијатурни
графики како своевиден ex libris - тапија да се биде слободен, да се сонува и да се биде она
што постојано ни го зборува Универзумот над нас и во нас. Во делот Портрети, успеавме да
создадеме и откриеме прекрасни пријателства и соработки: Националниот музеј во Тајван и
графичката уметност, Словенечкиот ликовен миг, преку графиките на Валвасор - еден од
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најзначајните европски графичари од доцниот среден век, Валвасоревата збирка и графички
денови можеби единствени во Европа во својот хуманизам, творештвото на Чртомир Фрелих,
Јанко Орач... Кратки портрети на големите: Мердад Катај, Деница Јанева, унгарските графичари
од Трансилванија, помладата генерација италијански графичари...
Конечно, меѓународното жири, во ваков контекст и со овие широки корелации и
кореспонденции, сфати дека денес во вака противречен, тежок, проблематичен, конфликтен,
од омраза заболен свет, е вистинска храброст и потполна оддаденост да се биде осамен и
речиси отфрлен творец и затоа, смета дека е најголем подвиг, доблест и храброст да се создаде
вистинско уметничко дело, да се биде денес творец е како да се биде дел од една заедничка
колективна, постојана молитва, упатена кон бескрајот на небото и кон нашите души како
последна желба да опстанеме во прегратките на Вселенската љубов. Не постои поединечна
Голема награда, не постојат поединечни награди, постои само една и единствена награда - тоа
е наградата за сите творци за храброста и вербата, наспроти сè да се биде Творец.
Владо Ѓорески
14
1 - 2. ... diary notes...
The concrete activities for the realization of the first international graphic triennial began in
1992. Vlado Goreski and Ljuben Paunoski, self-initiated and almost privately and creatively in that
year to determine its conception, architecture as well as the way of its realization. Invitations and
applications for participation based on the samples of the triennial in Kochi, Japan were prepared,
and address books from the graphic triennial in Ljubljana and Krakow were also provided. The idea
of its creation was born much earlier. Vlado Goreski often stayed for a long period in Ljubljana and at
certain moments he was directly part of the operations of the International Graphics Center and the
Graphics biennial in Ljubljana. Since then, the idea has been Bitola to be one of the centers of world
graphic creativity. Many connected the International Graphics Triennial with the Bitola Triennial of
contemporary Yugoslav graphics. These two manifestations have very little in common in the organi-
zational, ideological and creative concept. The last one, the 7th Triennial of Yugoslav Graphics, was
held in 1987 and since then it has completely disappeared in parallel with the breakup of Yugoslavia.
There was no desire, nor any specific activities for its further existence.
In 1992, direct contacts were established with Bogdan Krsic, the director of the Ljubljana Bi-
ennale of Graphic Arts, and Witold Skulicz, director of the International Print Triennial in Krakow, the
two most significant world graphic manifestations in that time. Both, Krsic and Skulicz gave full sup-
port to the newly formed Bitola triennial, and the main center of world graphics – Intergrafika from
Krakow, provided the most important data, addresses and organizational elements for the realization
of the future graphic triennial in Bitola. Vlado Goreski was invited, during that period, as member of
the jury of the Krakow Triennial.
The first invitations to the artists were sent towards the end of 1992. Behind these activities
there was no institution from the city, the manifestation acted as an independent factor, as well as
its founders and organizers. The first graphics began to arrive in 1993, the triennial was offered as
a manifestation to NI Institute, Museum and Gallery Bitola. This, in a way, may have meant losing
the opportunity to make an independent and completely authentic cultural manifestation in a rank
corresponding to the Ohrid Summer Festival and the Struga Poetry Evenings, and in terms of the
number of participating countries even at a higher level than the mentioned two events. This was
proven by the very first graphic triennial, immediately ranked among the significant world graphic
manifestations.
For the third triennial, numerous changes were made: the logo was changed, author - Vla-
do Goreski, and the full titles were added - International Graphic Triennial IGT - Bitola. The entire
non-productive organizing committee was disbanded, and Vlado Goreski became the artistic direc-
tor. Its organizational and conceptual concept was also changed, with which this manifestation once
again began an international odyssey with the aim of survival, maintenance and existence of this
“dream” formed under the inspiration, instruction and support of the most significant world graphic
manifestations.
The third triennial introduced a given theme, with the aim the authors to create graphics that
will be exclusively for Bitola, in such a way the manifestation got its own authentic identity in relation
to other world manifestations. A given theme had a great response from the creators and meant a
kind of rehabilitation. The fourth triennial was in that direction as well, and it rounded off the second
phase in his conceptual architecture.
For the third, essential stage in its further compact existence, Hermann Hebler, one of the
world’s most important graphic artists as well as the director of the distinguished Graphic Triennial
in Fredikstad, Norway, played a major role. The man who visited Bitola, who is honorary citizen of
Bitola, as well as one of the most significant beacons in finding the spiritual light in fine art - pure,
spiritual, metaphysical. With his most sincere dedication, love and most positive attitude and sug-
gestions revealing the possibility of the future survival of the Bitola triennial, he pointed out certain
elements that were very close to the idea, the ideal, the thought of graphic creation and its
15
living through these graphic events.
Since then, the triennial has built its own, authentic concept, which is based on completely
different principles than most of the world’s graphic events. The first most important tendency – the
participation of an increasing number of countries and authors from all graphic meridians – which
directly avoids the national elitism and hierarchism of certain, mostly large countries.
The second tendency – enabling the participation of every author from anywhere. The work
of the selection commissions very often turns into separating, that is, tendentious presentation of
certain authors and certain also tendentious removal of certain authors, or, apart from technical
omissions, which are not part of the so-called work of the selection committee, reduce this group
“chase” called selection, to the point of absurdity and to the overall today’s image of the world,
mostly senseless.
The third tendency – rewarding. It is also related to the previous two, that is, the same au-
thors or, almost as a rule, authors from certain “dominant” countries receive the same awards all
the time and everywhere, which creates a dangerous closed circle. Is rewarding certain authors an
objective formula? From where does certain people have right to judge the others and according
which rules?
The fourth tendency – avoiding any extravagance and colorful imposition in front of the pub-
lic. Quiet, peaceful, noiseless existence, because creation in the true art is the archiving of spiritual
states that are far from all noisy and aggressive lies.
The entire present-day existence of the triennial of graphic art in Bitola is built on a kind of mani-
fest credo, which has a desire to be away from all today’s “tumultuous” events that end by the next
morning.
The ninth triennial of graphic art managed to gather authors from 156 countries, which made
it unique in the world, it is unreservedly recognized by all graphic studios, the pathetic so-called
Grand Prix-type awards, equal, etc., succeeded to reduce them to a kind of blasphemy, rewarding
the authors on a completely different principle that is not applied anywhere, to the general, inspiring
satisfaction and motivation of all authors, and what is the other purpose of the award besides this?
The tenth triennial continues with this unique belief and conviction, singling out Bitola’s trien-
nial as a unique manifestation throughout the world, whether positive, negative, useful, unproduc-
tive, is relevant, time decides everything, and we only have a little bit of humanism and philanthropy
left, if it still exists somewhere.
What will be the next triennials, the eleventh, the twelfth..., will obviously depend on what
will happen in the world that started in the last act of the tragic or tragicomic drama.
16
3. ... metamorphoses
Тhe route of the international graphic triennial in Bitola, Republic of Macedonia, was initiated
in 1994, by the great love and wish to touch and reveal the contemporary graphic “events” from and
through all the meridians.
A small and newly established state has placed its hope and belief in its self-revealing and
connecting to the world. Although it had already had significant bonds with the world poetic word
realized through the Struga Evenings of Poetry, and with the music one through the Ohrid Interna-
tional Festival... the events in the Fine Arts sphere have unfortunately remained more occasional
even after its establishment: dispersed and of not very wide geographical radius, with an exception
of some single projects.
In this milieu which is both geographically and historically almost predestined to Fine Arts
with the numerous outstanding artifacts of all epochs of the civilization and with no exaggeration
with a great number of works of artistic-planetary significance, the efforts, the enthusiasm, the op-
timism, the need for creation of an international graphic triennial have had deep energy, motive.
In the beginning, the formation of this event followed a determined stage in which the most import-
ant issues of the plan were to gather authors of as many states as possible as well as to announce
our existence, and of course, to supply the thirsty art milieu in Macedonia with the greatest possible
number of art experiences, and to speak out to the art world centers on the graphic works in Mace-
donia.
The lively respond has fulfilled the dream of the country which yearned for its own place in
the world.
The graphic triennial has grown into a Fine Arts event of an international importance and got
registered in the family of the world graphic institutions eversince its birth.. Thereby, what’s more
important, a communication of no limits has been realized as well as candid openness.
To everybody’s pleasure, outstanding authors immediately came to Bitola and introduced
themselves with works which, at the same time, were circulating around the most significant insti-
tutions in the world. The fact that the home graphic artists and their works have been offered to the
world in return, is not to be underestimated as well.
Thus, the basic principles of the triennial functioning were established: the organizational
concept and the vision of the further life of this form of communication with the world that we
consider as one of the more essential ones. The second triennial maintained the practice of the first
phase.
Today, nearly six years of its existence later, we consider that it is about time the functioning
and the pulse of this art event stepped into a new phase, towards a new way of organization, a new
concept, new communication - first of all not in the organizational character but in terms og explor-
ing the conceptual cosmogony of the creation of a graphic work.
The first problem that we have spotted out is the problem of many events of this type. We
consider the form of holding an event of a panorama character to be on the verge of wasting up the
idea, reducing the communication to triviality and what’s most unpleasant, giving the graphic trien-
nial in Bitola a role of an orbiting satellite which only emits things happening in the most significant
world graphic centers. Bearing on mind the multioriginal character ofthe printmaking, and the fact
that the prints of a motif can travel around through different places no matter how distant they are,
the danger of repetition was more than apparent to all of us.
The third Graphic Triennial Bitola 2000 has changed the concept and essence of its existence,
and the term THEME is the new form of communication and concept (although, at first sight, it
seems risky and most undemocratic to put the artists in front of any stipulations).
The theme 2000 YEARS OF CHRISTIANITY and the subtheme METAMORPHOSIS are views,
quests, and second thoughts set up formally only - not a theme in itself but a wish for a certain au-
thentic dialogue with the author.
17
Regarding the fact that all themes of the Arts are eternal as they are in life itself, and that they
all differ only in the form of their expression (God, Life, Love, Death, Dream etc.), we consider the
theme 2000 YEARS OF CHRISTIANITY to be not only a wish but - at the beginning of the new millenni-
um, also a strong need to talk with the AUTHOR over one of the primal topics of Man, of civilization:
the idea, the feeling, the faith, the pray to God, but not in a transparent way and one schemed by
the occasion only but with the fluid of existence and creation.
God is the inherited archetype of Mankind; through the Christian anniversary we wanted to
search for the archetype of God on all continents, in all religions, in all souls - in an absolutely Jung’s
way. The awareness that we are all in front of the infinitely wide road to sensation and to the grasp-
ing of the brightest, the most universal good soul - the God’s, gave us courage, endurance, belief,
even “impudence” to set up this theme from the aspect of its spiritual, metaphysical and out of time
character.
To our great joy, the authors have not only responded to our yearn for a sincere dialogue but
have also offered us works which contain exactly that immense archetypal abundance of symbols,
signs, codes and messages of “God’s kind”. Thereby, in Bitola we can already see premiere works
which cannot be repeated, and without modesty, we can add that they are linked to this triennial
only, and with the mystery and unconscious depth some of them could even be the subject of thor-
ough studies from various aspects.
The insisting on some aesthetics, contemporaneity and styles has come in second because
our opinion is that the artistic works have to speak out on the essence, the prime of life, the exis-
tence and non-existence. The term “selectivity” in this context has become irrelevant to us - the
organizers. We no longer want events the main aim of which would be commercials or any cover by
customers.
With this concept we did not want to gather the artists so that Bitola should praise them
and applaud to them - Bitola has invited the artists so that their works, their dreams, their sincerity
should fight down loneliness, misunderstanding, allienation, vanity, hatred,.
Yet, no matter how pamphleteering and idealistic all this looks, Bitola will unhesitatingly con-
tinue to invite them mostly of all to slightly open the door of the GOOD SOUL.
The future triennials will again have a “THEME”: of love, life, eternal travelling, apocalypse of
death... We believe these themes to be the ones that all the authors dream to speak of most sincere-
ly. We believe them to be themes that every author would like to be “summoned to create a work “
on. Therefore, we no longer see our triennials as events but as an endless belief, and tendency that
they would also be the origin of many future graphic triennial catalogues that would become the
most authentic anthology, confession and archetype - by means of which, one day, the eternal Me of
Man would be exchanged with the encyclopedia of the Angel’s universe.
Will Arts of the third millenium become one of the accelerators of the future infinite travelling
of Man?
The subtheme MATARMOPHOSIS is only our wish to put a stronger accent on the above said
main theme.
In the transformation of the line, the form, the light, the idea, and the composition, we want-
ed and tried to give the authors a possibility to use their moments of “playing” and go back to the
primeval origin, to the first flash of light, of form, of concept which, however, are God’s ferments
that we have been bearing eversince primordial creation of Man. With the great wish for the Bitola
graphic triennial to emit messages, to offer, to ask for, to elaborate…, we can freely announce that
we have no pretensions and ambitions to become a uniformed event moving among the interna-
tional parallels but a gathering in which we would take care, with all our infinite love, to continually
reveal the “speech and play of the child” within us which have been forgotten for a long time.
We dedicate the Third Graphic Triennial Bitola -2000 to Hamvas Bitolaand his Scientia Sacra...
18
4. ... the shadow of love...
The artistic expression, the plastic arts are a complex system of relations, forms, contents,
meanings…
(D. Kish)
The magic nature of the graphic sheet still carries the secret of picture multiplication - which
appears not to re-repeat vainly the same idea, feeling, vision - but to travel across the known and
unknown islets glittering like a lighthouse and a message from any time, space, sphere…
Today, following mostly the Borges principle that a work lives only if it surpasses the author by travel-
ling, growing, maturing through the spheres of the numerous public, it seems that the graphics and
the book are the most close and most realizable towards this universe; the author’s matrix does not
multiply (reproduce), but it obtains new values, new visions, systems of relations, forms, meanings…
passing through a large number of spiritual spaces.
So, maybe we all dream the same dream, but in each case that dream acquires at least one
different note and at the end we still create together the big and deep ocean of endless pictures
composing our still alive and resilient defence system against all generalizations, rationalisms, super-
ficial linearization.
At time which is increasingly affected by a universal deluge of words, pictures and tones - the
more we speak, the less we hear or comprehend each other, the more we see each other, the less
we recognize each other replacing divine with the triviality of the everyday life, sailing through the
discompassed space - the appearance of a large number of graphical events has much deeper sense
and motive than the attempt to show them as prestigious and affirmative. Each of these events
is a real glitter of optimism, a new harbour in which the existing life of our common “polyphonic”
dreaming anchors. They are another proof that there are places where one can still hear the forgot-
ten real voice or dig out again the Orpheus nostalgia, that calm song from the depth of the personal
confession unbreakably tied up to the melancholic harmony, through which in spite of everything,
still stream the full-blooded pulsations of the true life and the countless “re-repeats” of the lights
and the ancient pictures of the constellations within and above us.
Today, this concept, this vision of the graphic exhibition in Bitola, can sound quite pathetic,
dramatic or melodramatic, rhetoric, condensed ageingly motionless and heavy, but set-up with deep
trust, in spite of the instant urban light speed which self-confidently conquers the world overnight
and changes life pushing away the solitude, speechlessness, enthusiasm, the scream of the Quix-
otism as unnecessary, needless waste, despicable and anachronistic rest of the general automated
and “glittering” planetary progress.
From the art language point of view, we believe that we should not forget or maybe ignore
the essential signpost through which the general life wisdom watches us tirelessly and tenaciously
through the painted eye of Rembrandt and the eye of the Angel from Kurbinovo: sadly, ironically,
cheerfully, thoughtfully, Rabelaisian, Chekhovian… prophetically, mad with pain, mad with happi-
ness, alchemically condensed in crystals of the light which at the same time lights up the civilizations,
both past and future.
That aboriginal stroke of the hand which painted, without its “knowledge”, the mark of all the
times and of all known and unknown spheres, was some kind of intonation for the second time in the
frames of which we wanted to set up this 4th International Triennial of the Graphic Art in Bitola.
In contrast to the previous triennial when we tried, with a quite discreet mark, to turn the attention
of the authors and the public to one eternal topic - the Human and the Divine - as an entirely logical
sequence, on the fourth one we tried discreetly to shade the accent on Life - Love. Not as a topic,
not as an order, but more like some kind of old clef which should open the eternal ports where the
endless secret of love and life is hidden, unchangeable in the everlasting duration. A large number
of authors, reacted in a right way and felt our message without being charged with the concept of
“assigned topic” - because it is love even when we talk about the most elementary
19
line, rhythm, variants of the permanent construction of the cosmogony of the composition; it is life
even when we talk about it in every possible way: parody, irony, dream, eros-tanatos, grotesque,
assumption, sublimity, poetry, metaphysics, game, solitude, it is life when we talk about the real
silence or chattering of the painting…
Throughout this entire sequence, throughout this numerous star omnibus of graphic sheets,
the 4th Graphic Triennial builds its own harbour identity.
This way of ideal setting has intentionally chosen the old “lived”, “non topical” conceptual
forms - in spite of the increasing production of new visions, distanced from the medium tradition;
installation fair and market, a cynical and ironic prestige of never reachable art metropolis which try
to change the vision and the feelings about the world, according to another line, motive and financial
sponsorship.
We still believe that through this shouting, maybe, after many years, it will remain at least
some print or fragment from a certain author (is the name relevant) which will be some kind of
point, horizon from where it will be still possible to see the Life, the Human; Reminiscence? History?
For our age or energy preservation which has not changed from the birth of the first star, the energy
which has not changed the eternal breath of Life and the eternal rhythm of Love.
And until new graphic lighthouses exist and are born from Ural to Beijing, from Bopal to Puer-
to Rico… we have a right to believe that the spirit of the cosmic Rembrandt’s and Angel’s eyes is in-
side us, and keeps our real internal vision for and from which there is a sense to Believe, Love, Live
and Create!
5. ... faces and signs...

In tehe time of the complete globalisation and the final triumph of the Matery, the schort trut
about the man was somewhere lost. The truththat fullow opposite line of evolution, the line lapsed
or sunken somewhere in theendiess mazes of the tedius metropolitans.
And the truth was small, simple and silent-sotuated in the man glance face...
Was the topic of Bitola^s Triennial “Faces and sings” only a kind nostalgic, foggyremembrance or
desire to uncover the forrgoten lights, or it was only just one more utopia against the unstoppable
progress?The answer is maybe know to the authors which works are in Bitola and this catalogue, col-
lected now in not so clear alphabet of the participant states, those works-the graphic papers seem
to look like a certain archeology reference book about the lost souls or archive antology of the faces
witch at that time had names.
To the contrary of the new incubatorycivilizations-not only hare, but also in largenumber of
museumms word wide a new group strike out, wich maybe did know the reasonswith but certainly
they know where to search for the faces and thier codes: in Rembrandth glance, in smile of Mona
Lisa...from the oter side of the timeless side in which our mirror is located whether we could recog-
nize our self^s, whether we will find our lost face, somebody recolet that in those quiet and lonely
places ( museum Nabokov context) thare is still some kind of web - shape patina in which is cought
the short shape of the true smile, inspiration or sorrow as a forgotten alphabet of life. It is question
whether from the lost ssilicon stairs of the Babylon tower we could notice the Face of the last man
down there, which rummage us by the expression of the recently fallen angel?
Bitola*s Triennial onlu one modest goal and desire: to initiate the artists from around the world to
speak once again about the eternal and maybi forggoten topics, and one of theam amoung the most
important is the human face-a topic wich is dominant trought all spoches. Regarding all present style
preoccupations regarding all aesthetic and exange mouvments. I consider that the Face in that art
the last nowadays artefact about our short but toilful existance in the general absence of the spiri-
tuality of all kind, only the glance from the Face remain to be untouched, unclosed as a clear source
20
of the tears and light. And the artists are maybe the last sensors which are abie to discover all nounc-
es and most refine werving wich is reviled by the man glance and face. Is this retroactive and anacro-
ny sublimation in front of the Noah*s boat the last chance to discover once again our own face in the
eyes wich look at us for centuries and expect on simply it is a farewell with present history of the life.
Regarding the great exact and “optimistic” response of the autors word wide and the general
indifference, not only in the environment where this last comiic carusel took place, we consider that
by at all we manage to dig up the dreams.
6. ... the last island or solitude....

The Last Island or loneliness
The last testament of the humanity is buried on some desert Island, lonely till the horrifying
pain, lost in The empty space, away from the eternity and closer to the Eternal insignificance.
In the last testament of the humanity, somewhere faraway, on a desert Island, the love perishes,
abandoned, long forgotten, in the dust of a disappearance. The last love, the Last Island - surrounded
with the sole and eternal pulls of the waves, of the water, of the same mourning and through the
dark and paler light.
Will we find the one that was once harvested through the rainbow fields, when the man-child
knew how to truly laugh?
Through how many sunsets we should seek the unique star, that really knows how to enlight-
en the way.
In what should we believe? On what shall we lean?
We forgot that distant harbor, where we unloaded and left everything, a long time ago, so we don’t
know passing each other who we were. We don’t recognize ourselves, without thoughts, without
real words, lifeless, lost, with hate, suffocating unbearably, with fears…
And now we have arrived at the 6th Triennial of Graphic Art, rejoicing over every arrived leaf,
as to an imprint and a healing palm touch. Every day for some or several leafs - from the far and the
Last Island? From the lonely rocks and stones of dying joy- of the author, the artists that float short
through the air, ghosts?
We arrived, with difficulty, at this manifestation less needed, realizing that the last island sank
in the unknown and endless depths of the loneliness and all these works had traveled to us with a
light years or dark years traveled from the childhood of the past to the future, that we are never go-
ing to touch.
So let’s start, to the unknown way, to the disappearing Kithira
Will we find her? Will we arrive? We are filled with the empty Self and have chosen to trample down
the little truths that had been left…
7. ...star lights...
Since the beginning of the humanegzitense, his deepest stare, his persistent gaze is towards
21
the stars.
What kind of secrets, what kind home, do they hide?
Magnificant infinity? Countless volcannoes of the light? Unknow coldness?
In fact, the whole gaze in wich are collected all unfinished matters of life and death, sometimes are
so unneces-sary, so strayed across distancess...
That entire World, for wichh we thought that was outside and far away from us, is here-in-
side us. The look in the starry Van Gogh*s sky over Arles in the look in the shiny crystal mirror.Mirror
trought wich our existence is reflected, our regard, beacouse we permanetly escape from ourseleves,
thinking that over there is the distance wich we shall never reuch.
That over there, that grandiose there, is that smal here: that glitter of the countless stars is the gliter
and the poulsation of our hearts-light wich is tenderly dispersing throught the dense dark-blue look-
ing for the promised love or the answer for our common hymon wich one we are humming togete-
her with the spherical earth perfection.
Our common harmony from the primmeval orgin of that think is a lifeless desert.
And, as more we gaze in the distance we ask ourselves, or we play with the “answers”, as
more the life passes trought our fingers like precious gold dust. Life is where “death” is: death is
wheare “life” is, while everting is one big, common dream, common ilusion, everyting is common
“desert”-with no word, with no “wisdom”. Just an easy weightless floating, trough the “void-ness”-
with out time, without a begining and with out an end. Just one short, tender bird*s sound whhich
will last until the silver-mirror light glitters.
The triennial of this year a slightly modified sequence.Is begins with the edition. ‘Portraits’ and
with several authors with the sublimate of their oeuvre throught wich the primordial gaze, that child-
ish gaze, is sieved through the threade of the oeuvre, troought the sediment of the time, through the
remains of numerous feelings of those who hawe been and those who will be-oeuvre which is always
just a small flutter, short flash, a breath of wint is still called a life:offering us the amber beats of the
dense light- not as a consolation, not as spiritual fath, but as little singposts, as fireflies that lead us
through the path to ourseleves. Courageolusly and self-sacrificingly.Beyond all vanities and unneces-
sary absurd self-confidences.The theme “Oceans and constellations or the life in the mirror” is just a
smail, initial drawing of our great common self-portrait.
8. ...Lost Confessions...
`The Eighth International Graphic Triennial in Bitola, marks its twenty years of existence, peri-
od in which some kind of completion of collective artistic expression, formed by countless ecliptic of
constant finding, confession, sensuality, desire to transcend the banal, and finally to reach the real
deep communication in harmony with everything.
The presence of about 5,000 authors from around the world up to now, with a much higher
number of works, today examined in an anthological way, re-examined, revived again, looks like a
kind of reminiscence of the Sisyphean human obsession to be in what we still so ambitiously call
civilization.
Throughout the past twenty years, consistently and with metronomic repeatability was set
the belief or the thought that the sum of the painting art, the presence of the culture, the creativity,
can change, can ennoble, can devise the human existence.
All the previous efforts of the authors to prove or to reach the unattainable, noticed here
through diaries - catalogues, is more and more inundated with thick impenetrable dust of oblivion,
22
indifference, nothingness.
The Eighth Triennial although attempts by the presence of impeccable and diverse aesthetics
and the latest voice of hope or ego, who knows, to create or to provide some excuse for its existence
and the existence of art in general, today, it seems, in very strong, solid and convincing accurate
determinations of any kind - not only does it fail to step forward in disrupting of the overall density
of the misty disappearance, but, paradoxically, by trying to prove that in any attempt having the
smallest content of the cultural context, precipitously moves to the rapid and definitive oblivion and
needless.
After twenty years, taking into account the overall indifference of all possible urban land-
scapes of human vanity and always glorious ambition for fame, power and greed to material fairs,
today we wonder whether and who really needs these anachronous events, and for what? So far
and retrograde versus the faster and faster, and celebrity Atlantean progress.
9. ... depositions ...

The Ninth International Graphic Triennial in Bitola is with a slightly different concept from the
previous ones.
The endeavor, desire and inspiration were to compile an anthology of contemporary graphic
designs in the world.
Therefore, a large number of countries were included (over 160).
The creation, everywhere in the world has one primal motive, love – the goal is to connect the
world unconditionally with what the Human only truly owns: the feelings, the thought, the dreams,
the love.
In fact,mankind represents all this combined in one
indestructible light.
The purpose and meaning of this triennial is to show and discover that in all parts in our world:
somewhere sunk in the worst wars, somewhere in desperate famine, loneliness, luxury, dictatorships
and oppressions of all kinds, violence, idealism, false democracies, tedious attempts to even touch
the equality, justice, enormous wealth, enormous poverty, utopias, believes, defeats, sufferings,
shattered consumer rampages, banal enjoyments, dreams, dreams of nightmares, dreams of hope,
etc., in one word everywhere, art, especially the graphic art, which is with one same commonality,
the tendency and the incredible “ collective” need to awaken the feelings, the thoughts, the love.
There only exists that bright surface as a message of possible survival of human kind and humanity.
We can imagine the Bitola triennial as a bridge, as opened doors, as pure and sincere state in
which eternity is in fact this almost hidden, brief moment of planetary creation.
The presence of numerous authors only proves that
the art is not only elite or privilege, but real and profound
need to remain human.
In addition to this, the international triennial of graphic, retained the album of miniature
graphics as a personal “ex libris” – right to be free, to dream and to be what the universe is constantly
talking about us and in us.
In the “Portrait” section, we managed to create and discover wonderful friendships and col-
laborations: the National Museum of Taiwan and Graphic Art, the Slovenian Art moment - through
the Valvasor’sgraphics - one of the most important European graphic artists of the late Middle Ages;
23
Valvasor’s collection and graphic days perhaps unique in Europe in his humanism, the work of Chrth-
omirFrelih, JankoOrach….. Short portraits of the great ones: MehrdadKhataei, DenicaJaneva, Hun-
garian graphic artists from Transylvania, the younger generation of
Italian graphic artists etc…
Finally, the international jury, in this context and with these wide correlations and correspon-
dences,realized that in this world full with contradictions, difficulties, conflicts and hatred, it takes
immense courage and complete devotion to be a lonely and almost rejected creator, and therefore
believes that to create a real and artistic work nowadays is the greatest feat, virtue and true act of
courage. To be a creator today, is like being part of a collective, constant prayer directed towards the
infinity of heaven and our souls as a lasting desire to survive in the embrace of the universal love.
There is no single Grand Prix, no individual awards, there is only one and only reward - it is a reward
for all creators for their courage and faith, as opposed to everything to be and stay a Creator.
Vlado Goreski
24
25
26
1 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА 6 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА
54 држави - 380 уметници 63 држави - 650 уметници
1 INTERNATIONAL TRIENNIAL OF GRAPHIC ART IGT BITOLA 6 INTERNATIONAL TRIENNIAL OF GRAPHIC ART IGT BITOLA
54 countries - 380 artists 63 countries - 650 artists
9 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА

4 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА
161 држави - 1194 уметници
9 INTERNATIONAL TRIENNIAL OF GRAPHIC ART IGT BITOLA
4 INTERNATIONAL TRIENNIAL OF GRAPHIC ART IGT BITOLA
161 countries - 1194 artists
56 држави - 401 уметници 147 countries - 177 artists
27
30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ ИГТ БИТОЛА
30 YEARS INTERNATIONAL TRIENNIAL OF GRAPHIC ART ITG BITOLA
А Н Т О Л О Г И Ј А
A n t h o l o g y
Skocir Rudi, Slovenia
Tetsuo-Yamashita, Japan
30
Yoshizumi Toshio, Japan
Dominguez-Penis Franncisco, Spain
31
Grabowy Slawomir, Poland
Hadzi Boskov Petar, Macedonia
32
Jakimovski Zoran, Macedonia
Kiril Gegoski, Macedonia
33
Maes Fred, Belgium
Luisa Bertani, Italy
34
Nikolov Dimce, Macedonia
Malidanov Dimitar, Macedonia
35
Garcia Martin Rivera, Puerto Rico
Ranka Lučić Janković, Serbia
36
Pato Karoly, Hungary
Metamangrum Vorakorn, Thailand
37
Safet Zaec, Italy, Bosnia and Herzegovina
Beauvais Francine, Canada
38
Candiani Alicia, Argentina
Jancovic Robert, Slovakia
39
Georgi Culakovski, Macedonia
Dicks Trudi, Namibia
40
Humbert Jean Pierre, Switzerland
Kocovski Ilija, Macedonia
41
Kuduz Ante, Croatia
Krystyna Piotrowska, Poland
42
Piter Bischof, Austria
Leo Rey, Israel
43
Wojciech Krziwoblocki, Austria
Koexae Ogam, Botswana
44
Edgar Leon, Costa Rica
Opy Zouni, Greece
45
Stojan Apcevski, Macedonia
Dimitar Kocevski Mico, Macedonia
46
Miek Koppens, Netherlands
Mira Bocniowicz, Poland
47
Yoya Shaahrin, Bangladesh
Sandy Sykes, England
48
Edward Bateman, USA
Fuki Hamada, Japan
49
Juri Jakovenko, Belarus
Nauer Spindola, Brazil

50
Toni Pecararo, Italy
Jochen Koehn, Germany

51
Paolo Ciampini, Italy
Sandro Bracchita, Italy
52
Masahiro Fukuda, Japan
Ryo Saitoh, Japan
53
Fehim Huskovic, Macedonia
Seung Yean Kim, Korea
54
Suzana Fantanariu, Romania
Pedro Asencio Mateos, Mexico
55
Vladimir Zuev, Russia
Ella Tsyplyakova, Russia
56
Igor Podlochak, Ukraine
Kopabjanko, USA
57
Herman Hebler, Norway
Marcian Bialas, Poland
58
Josse Wuyts - Frans de Grout, Netherlands
Jiri Neuwirt, Czech Republic
59
Kim Youn-Ok, Korea
Hwang Jeon-Il, Korea
60
Fanasaka Yoshisuke, Japan
Abdel Wahav Abdel Mohhsen, Egypt
61
Leonardo Gotleyb, Argentina
Ryo Saitoh, Japan
62
Georgi Dimovski, Macedonia
Maurice Rasternak, Belgium
63
Edo Murtic, Croatia
Josip Butkovic, Croatia
Maria Estefanell Jose, Argentina
64
Silvana Blasbalg, Argentina
Gerard Trignac, France
65
Amaryllis Siniossoglou, Greece
Art Werger, USA
66
ASshraf Abbas, Egypt
Bogdan Krsic, Serbia
67
Ayrat Teregulov, Russia
Derek Michael Besant, Canada
68
Desislava Hristova, Bulgaria
Elfi Schuselka, USA
69
Endi Poskovic, USA
Hugo Besard, Belgium
70
Kristina Grothe, Germany
Janne Laine, Finland
71
Marija Svetieva, Macedonia
Marc Frising, Luxembourg
72
Peter Milton, USA
Murat Ertürk, Turkey
73
Darina Peeva, Bulgaria
Reti Saks, Estonia
74
Ssendagire Paul, Uganda
Sadao Sakurai, Japan
75
Steve Lovett, New Zeland
Tomoya Uchida, Japan
76
Agnieszka Lech-Bińczycka, Poland
Agata Gertchen, Poland
77
Ana Vivoda, Croatia
Andre Bongibault, France
78
Cleo Wilkinson, Canada
Chaivut Ruamrudeekool, Thailand
79
Dimo Kolibarov, Bulgaria
Zoran Mishe, Macedonia
80
Duger Boldgarav, Mongolia
Guy Langevin, Canada
81
Ibrico , Spain
Lee Sea Hyun, Korea
82
Ivana Nasteski, Macedonia
Mehrdad Khatae, Iran
83
Judy Woodborne, South Africa
Paul Coldwell, England
84
Jung Woo Hong, Korea
Peter Augustovic, Slovakia
85
Keshav Malla, France
Jan Pamula, Poland

86
Maria Pina Bentivenga, Italy
Poignon Nicolas, France
87
Stefanie Holer, Austria
Victoria Goro-Rapoport, USA
88
Tatjana Kazimiereniene, Lithuania
Slobodan Jevtic- Slobo, France, Serbia

89
Tatjana Ratković, Serbia
Tatjana Maneva, Macedonia
90
Yoshiko Fujita, Japan
Erich Steigner, Australia
91
David Frazer, Australia
Ernst Fuchs, Austria
92
Jjakovenko Jjurij, Belarus
Nicola Traversa, Bolivia
93
Taida Jasarevic, Bosnia and Herzegovina
Gamnqoa Kukama - Khoisan, Botswana
94
Denica Janeva, Bulgaria
Venceslav Antonov, Bulgaria
95
Cid Davida, Canada
Jiri Anderle, Czech Republic
96
Peter. Allikk, Germany
Rakesh Bani, India
97
Susumu Endo, Japan
Masataka Kuroyanagi, Japan
98
Jan Sevensen, Norway
Katarzyna Łukasik, Poland
99
Wieslaw Haladaj, Poland
Marcin Pazera, Poland
100
Vladimir Zuev, Russia
Eduard Penkov, Russia
101
Atanasov Todorce, Slovenia
Daniela Fulgosi, Serbia
102
Kihlman, Mikael, Sweden
Alenka Sottler, Slovenia
103
Kriangkrai Kongkhanun, Thailand
Jakkee Kongkaew, Thailand
104
Carol Wax, USA
Boge Dimovski, Slovenia
105
Michael Goro, USA
Margaret Kohler, Austria
106
Jovica Mihajlovik, Macedonia
Bert Brouwer, Netherlands
107
Awni Sami, Iraq
Valeria Bertesina, Italy
108
Aoife Layton, Ireland
Hachmi Azza, Belgium

109
Janusz Jędrzejczyk, Poland
Winiarski Tomasz, Poland
110
Slave Kirkovski, Macedonia
Semov Simon, Macedonia
111
Modhir Ahmed, Sweden
Lenny Librizzi, USA
112
Albin Brunovsky, Slovakia
Ovidiu Petca, Romania
113
Črtomir Frelih, Slovenia
Alberto Balletti, Italy
114
Inga Heamägi, Estonia
Janko Orač , Slovenia
Biljana Vukovic, Serbia
115
Ivo Mosele, Italy
Bojan Otasevic, Serbia
116
Vladimir Milanovic, Serbia
Hania Zaazoua, Algeria
117
Vahan Roumelian, Armenia
Jennifer Meranto, Antigua And Barbuda
118
Annika Romeyn, Australia
Juli Haas, Australia
119
Vasil Angelov, Bulgaria
Gyempo Wangchuk, Buthan
120
Minjie Zhang, China
Sean Caulfield, Canada
121
Eddy Kamuanga Ilunga, Congo
Teresa Ślusarek, Czech Republic
122
Benjamin Vasserman, Estonia
Alena Kučerova, Czech Republic
123
Piia Lehti, Finland
Aristea Kritsotaki, Grecee
124
Nazar Yahya, Iraq
Vicky Tsalamata, Grecee
125
Kouki Tsuritani, Japan
Struan Hamilton, Ireland
126
Naoji Ishiyama, Japan
Noda Tetsuo, Japan
127
Yamamoto Keisuke, Japan
Peterson Kamwathi, Kenya
128
Alexander Lufer, Kyrgyzstan
Agnė Juršytė, Lithuania
129
Slavica Janeslieva, Macedonia
Guntars Sietiņš, Latvia
130
Sam Francis, Mauritania
Sergio Sanchez Santamaria, Mexico
131
Zeljko Djurovic, Montenegro
Gerelkhuu Ganbold, Mongolia
132
Carlos Barberena, Nicaragua
Terje Risberg, Norway
133
Artur Masternak, Poland
Stanielewicz Małgorzata, Poland
134
Zora Stančič, Slovenia
Dusan Kallay, Slovakia
135
Annette Hammarén, Sweden
Christiaan Diedericks, South Africa
136
Lars Hoffsten, Sweden
Lars Östling, Sweden
137
Stuart Duffin, England
Thaer Maarouf, Syria
138
Art Werger, USA
Oswald Auer, Austria

139
10 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ - ИГТ БИТОЛА
антологиски реминисценции - ---------------------Владо Ѓорески
10 INTERNATIONAL TRIENNIAL OF GRAPHIC ART-ITG BITOLA

anthological reminiscences ---------------------------Vlado Goreski
10. ...последниот човек...
Меѓународното графичко триенале во Битола, се наоѓа пред една голема раскрсница, пред едно
големо збогување и разделба. На едната страна, се наоѓа свет кој сака севкупниот човечки живот да
го смести, да го компресира, да го обликува во свет опседнат со технологија, дигитална „стварност“,
вештачка интелигенција, манипулации, верба во напредок, верба во неверба, градење на вавилонско
трансцивилизациско недоразбирање и лажни цветни раеви, владеење на богатите поединци,
опседнатост со вечноста, не на душата, туку со неизбежните безбројни распади на материјалното, свет
на псевдоисторија, псевдоиднина, на лажност која свети со невистинска светлина која се продава како
светлината на недостижните таинствени sвезди...
На другата страна е краткиот здив на човечкиот живот, сиромашен во своето тешко и трагично
постоење но, можеби возвишено во севкупната верба во безвремената поврзаност на љубовта, на
вечната слика на исконското постоење, во создавањето според бескрајната и сеопшта љубов на Божјото
создавање или на здивот на универзумот како есенската меланхолија на севкупното поетско распетие
на духот и на летот кон слободата и ослободеноста.
Графичкото творештво е уште едно од човечките исповеди, исповеди на искреноста, на краткиот
љубовен екот, кој е прогонет, изгонет, сè повеќе игнориран и непотребен во „новиот свет“. Наспроти
сето тоа, тоа и натаму постои, тоа и натаму живее, како скриен емигрант во туѓа земја, во туѓ лажен
простор, создавајќи или чувајќи спомени од постоењето пред животот земски.
Збогувањето е веќе почнато, триеналето, сè повеќе ќе биде илегално, скриено, тивко шепотење,
наспроти големата и непрекината врева на светот што некој друг така дрско и лажливо ќе се обидува да
го создава.
Триеналето ќе биде сè подалеку од лажниот елитизам преку кој, богатите се обидуваат да си
играат со уметноста како со нешто сосема непотребно кое сепак ако сакаат може да носи заработувачка
според нивната определба кој „уметник“ ќе го одберат за дневна жртва и краткотрајна лажна слава,
первертирана во бласфемија на антитворештвото.
Збогување од бесмислени наградувања, претенциозни вреднувања, скрибомански естетизирања,
од скрнавења на графичкиот јазик кој е поврзан со остатокот на исцрнетата дланка во пештерите допрена
со Микеланџеловата дланка на спасението.
Триеналето преминува од другата страна: тивко, незабележливо, оддалечено од брегот, смирено,
скромно, бесшумно, далечно, скоро невидливо, на патот кон лебдечкото, левитирачкото, проѕирен
остров на Тарковски со остатоците од искршениот и досега упорно криениот брод на Ное.
Владо Ѓорески
142
10. ...the last man ...

The International Graphic Triennial Bitola is in front of a big crossroads, in front of a big farewell and
separation. On one side, there is a world that wants to place, compress, shape the whole human life into a
world obsessed with technology, digital “reality”, artificial intelligence, manipulations, belief in progress, belief
in disbelief, building a Babylonian trans civilization misunderstanding and false flower paradises, the rule of
rich individuals, obsession with eternity, not of the soul, but with the inevitable countless decays of the ma-
terial, world of pseudo-history, pseudo-future, of falsehood shining with untrue light sold as the light of the
unattainable…
On the other side is the short breath of human life, poor in its difficult and tragic existence but, perhaps
sublime in the overall belief in the timeless connection of love, in the eternal image of primordial existence,
in the creation according to the infinite and universal love of God’s creation or breath of the universe like the
autumn melancholy of the whole poetic crucifixion of the spirit and of the flight to freedom and liberty.
Graphic creation is another of the human confessions, confessions of sincerity, of the short love echo,
which is persecuted, exiled, more ignored and unnecessary in the “New World”. Despite all this, it still exists, it
still lives, as a hidden emigrant in a foreign country, in a foreign false space, creating or preserving memories
of existence before earthly life.
The farewell has already begun, the triennial, it will be more and more illegal, hidden, quiet whisper-
ing, in the face of the great and uninterrupted noise of the world that someone else will so arrogantly and
falsely try to create.
The triennial will be further and further away from the false elitism through which the rich try to play
with art as something completely unnecessary which, if they wish, can bring in earnings according to their
choice which “artist” they will choose for daily sacrifice and short-term false fame, perverted into blasphemy
of anticreation.
Farewell to meaningless rewards, pretentious valuations, scribbler aesthetics, to the desecration of the
graphic language associated with the rest of the blackened hand in the caves touched by Michelangelo’s hand
of salvation.
The triennial crosses the other side: quietly, imperceptibly, far from the shore, calm, modest, silent,
distant, almost invisible, on the way to Tarkovsky’s floating, levitating, expansive island with the wreckage of
Noah’s Art.
Vlado Goreski
143
portraits
TRAJCE BLAZEVSKI,
Macedonia
Synthesis of Glagolitic civilization, and today’s Babylonian visual labyrinth

Grand Prix award at 9 ITG TRIENNIAL-Bitola, 2018
146
147
148
DOUGLAS BOSLEY
USA
The constant accuracy and fascination of artistic prophecy

Grand Prix award at 9 ITG TRIENNIAL-Bitola, 2018
Douglas Bosley graduated from Western Washington University in 2009 with a bachelor’s of fine arts
in printmaking and an MFA from the University of Wisconsin – Madison in 2012. His work has been included
in numerous shows nationally and internationally in Australia, China, Ireland, Italy, Japan and New Zealand.
He is the recipient of an Illustrator of the Future award and was awarded first place in the National Society of
Arts and Letters National Competition in Printmaking for 2013. From 2013-2015 he was honorary fellow and
artist in residence in the Forest lab at the Department of Bacteriology at the UW-Madison. In addition, his work
is held by several collections including the Yekaterinburg Museum of Fine Art, the Museum of Texas Tech Uni-
versity, the Southern Graphics Council Print Collection and Archives and the Wisconsin Union Art Collection.
With a sense of artistic vision and prophecy -Douglas Bosley, realizes, with a precise graphic expres-
sion-TODAY’S ENTIRE APOCALYPTIC. His artistic perspective unites all the messages of the artists of the past
messages that first highlight moral commitment, struggle for a better life, faith in a better humanity, in the face
of all the difficult contradictions. Precisely because of this, he is not an elite presence in the centers he sacri-
fices a fleeting artistic “career” but, therefore, is in serious correlation with the future. Such a life with art and
for art is perhaps the only creative truth, in contrast to all the various transitory and increasingly unnecessary
stylistic and mannerist movements.
Vlado Goreski
149
JUKKA VANTTINEN,
FINLAND
Award for development and contribution to the world graphic creation of 10 ITG TRIENNIAL-Bitola, 2021
Jury:
-Venceslav Antonov - director of the International Print Biennial, Varna, Bulgaria
-Denica Yaneva, professor at the art academy
-Vlado Goreski, art director of the International Triennial Of Graphic Art Bitola - IGT Bitola
150
The depth of the artistic expression at Jukka Vanttinen, it’s not anymore: oneliness, melancholy, child-
hood of the last shadows.
These are the traces of the vanished humanity.
Are they material?
Are they real?
It doesn’t matter. These are the last traces, the last breath, that man left somewhere, in some world,
in some memory, in some nostalgia for God.
In the end there will be nothing left of our vanity, of our Babylonian arrogance.
Somewhere, in some hidden, secret, modest, quiet places, the poetic words will remain - similar to
the rustling of autumn leaves.
Somewhere where unread written letters, unread books, etudes that play with the traces of light will
remain.
Somewhere where only sunsets existed, where the last shadow of forgotten love had disappeared.
His graphic creation is the deposition of real light and crystallization, which will remain as an am-
ber-fossil in the hands of a child constellation that had a terrible dream.
He is an author who creates a herbarium of dried memories.
His graphic works are an archeology of autumn melancholy, the only pain left by man and humanity,
as proof that he once existed. Everything else is a lie, unreality, a flood of suffocating density of the decay of
all materiality.
Vlado Goreski
151
152
153
International Triennial Of Graphic Arts Livno,
Bosnia and Herzegovina

In 2017, the Franciscan Museum and Gallery Gorica

– Livno initiated the International Triennial of Graphic Art
Livno as an event that would take place continuously every
three years in Livno and bring insight into the world’s cur-
rent graphic art production. Through the Graphic Triennial
event, our intention is to offer insight into current graph-
ic production not only in our region but also beyond, and
for the event to be a meeting place for graphic artists from
around the world with the aim of popularising the graphic
medium, sharing of experience, and creating a new cultural
product by which the museum would be recognisable. The
first triennial was attended by 109 artists from 33 coun-
tries, while the second triennial in 2020 was attended by 73
artists from 34 countries. Most artists donated their works
and thus enriched the museum’s collection of international
graphics.
In its daily work on preserving cultural heritage and
presenting the vast cultural treasures it keeps in its hold-
ings, the Franciscan Museum and Gallery Gorica – Livno
collaborates with all cultural and scientific institutions in
Bosnia and Herzegovina, and with the initiation of the In-
ternational Triennial of Graphic Art it wishes to stand out as
the graphic art centre of the region.
The Franciscan Museum and Gallery Gorica – Liv-
no has currently grown into the most important cultural
institution in south-western Bosnia and Herzegovina, and
through the construction of infrastructure and permanent
exhibitions of the archaeological collection, the weapons
and military collection, the ethnographic collection, and
the memorial gallery of Gabrijel Jurkić’s paintings, affirmed
itself as a leading cultural institution of the Croatian people
in Bosnia and Herzegovina.
Dražena Džeko
director
translation: Janja Rimac
154
Considering the quality graphic production that is
present in Bosnia and Herzegovina in the time continuity from
half a century ago to present day, the intention of the Francis-
can Museum and Gallery Gorica-Livno is to bring insight into
the current graphic production through the Graphic Triennial
event, not only in our region but also beyond.
Mr. Božo Biškupić, former Minister of Culture of the
Republic of Croatia, museologist and collector, is the originator
of this event and most deserving for its initiation. It all began
in 2013 with the donation of contemporary Croatian graphics
from the Biškupić Collection to the Franciscan Museum and
Gallery Gorica-Livno. Four years after the donation, with the
support of the Franciscans, local and federal authorities, and
the great enthusiasm of the museum staff, the idea of establish-
ing a graphic event in Livno was realised.
The International Triennial of Graphic Art Livno is a
positive initiative as well as a challenge, not only for the organ-
iser but also for a small town in the SW part of Bosnia and Her-
zegovina that wants to get involved in world art events. After
the flourishing and great international success of Bosnian-Her-
zegovinian graphics in the second half of the 20th century, the
war and post-war social reality brought international artistic
collaboration to a more passive state, but not the artistic pro-
duction.
In order to nurture the already established achieve-
ments, such as the phenomenon of the Sarajevo Graphic
School, the launch of a national platform for the promotion of
domestic graphic art imposed itself as a necessary and natural
act.
The International Triennial of Graphic Art Livno wants
to be a field of interaction between the traditional and the con-
temporary where the artistic experiences of different graphic
schools would intertwine and advance, and the formed inter-
national graphic collection would serve as an inspiring place of
education for new graphic generations.
109 authors from 33 countries were represented at the
1st International Triennial of Graphic Art Livno-2017.
The Accompanying Programme of the 1st International
Triennial of Graphic Art Livno: Dževad Hozo – Universal Con-
tribution to Bosnian-Herzegovinian Graphic Art
Dževad Hozo belongs to gifted generation of Bosnian-Herze-
govinian artists who made a turnaround in the field of graphics
in the 1960s and the 1970s.
The Accompanying Programme of the 1st International
Triennial of Graphic Art Livno: Dževad Hozo – Universal Con-
tribution to Bosnian-Herzegovinian Graphic Art
Dževad Hozo belongs to gifted generation of Bosnian-Herze-
govinian artists who made a turnaround in the field of graphics
in the 1960s and the 1970s.
Together with colleagues such as Halil Tikveša, Mersad Berber,
Virgilije Nevjestić, Emir Dragulj, Borislav Aleksić, Memnuna
Vila-Bogdanić, Radovan Kragul, Safet Zec, Salim Obralić,
155
Tomislav Dugonjić, Enes Mundžić, Ivica Šiško, Kemal Širbe-
gović, and many others, who confirmed that Bosnian-Her-
zegovinian graphic art does not lag behind, on the contrary,
stands alongside the best on the European art scene. Al-
though they studied at different graphic schools, with their
artistic work and international success in the 1970s, they
created the concept of the Sarajevo Graphic School phe-
nomenon. This is the generation of artists who shaped and
established Bosnian-Herzegovinian graphics in half a centu-
ry of its flourishing, growth and advancement.
74 authors from 34 countries exhibited at the 2nd

International Triennial of Graphic Art Livno - 2020. Among
the exhibitors were both internationally recognised and
prominent professors of graphic art whose works testify to
the great experience and excellence of metier, and young
promising authors in whose works the rapture of graphic
questioning of a strong suggestive symbolism can be felt.
Different interpretations of the traditional graphic medium
have created a vital graphic dialogue with all specifics of
a unique artistic expression that ranges from figuration to
abstraction, from intimist fancy to historical review, from
lyrically intoned prints to expressive gestural works, urban
landscapes, minimalism and geometric abstraction, sur-
Portret of Dzevad Hozo realist-metaphysical themes, graphic books, optical varia-
tions of op-art and pop art influence. The diversity of ar-
tistic poetics has contributed to the dynamism of graphic
dialogues, which do not compete, but are synchronisation
of creativity. Today’s new art forms, digitalisation of the
image, fluidity of works, and their networking in social re-
lations, shape new criteria of art that can sometimes be
a mitigating or aggravating circumstance in the evaluation
of traditional graphic practice. The works presented at the
2nd International Triennial of Graphic Art testify that the
questioning of traditional media can still bear vital reflec-
tions, and at the same time that in correspondence with
the modern medium, they can be very stimulating for new
visual research, which always contributes to an active, fruit-
ful and inspiring creative atmosphere.
The 3rd International Triennial of Graphic Art Liv-
no-2023, as a field of new confrontations of various forms
of artistic freedom will certainly be a vital reflection on
stimulating impulses of traditional graphic practice, which
has its regenerating dimension in contemporary art.
Željka Markov
museum consultant
translation: Janja Rimac
156
Dzevad Hozo, Plemenitas Safet Zec, Zagrljaj
Ivica Sisko, Glava zmije, 1988 Stoimen Stoilov, Ciklus Odjeci - San
157
Antonija Gudelj, Mediteransko ljeto Radmila Jovanovic - Dapic, Ljudi 1
Tamekane-Singing at Night Edvin Dragičević, Kontrolirati Nadejda Menier, Moja ptica...

nemoguće ljudi ruše... moju zemlju
Jorge Pulido Moreno, Kampiranje u

Katri Ikavalko, Budjenje dinama
158
authors
159
Agim Sulaj, Albania
Rachid Koraïchi, Algeria Francisko Vidal, Angola
160
Marcela Miranda, Argentina
Jenifer Meranto, Antigua and Barbuda Latifa Zafar Attaii

Afghanistan
161
Hayk Gregoryan
Armenia
Leonardo Gtleyb, Argentina
162
Annika Romeyn
Australia Cleo Wilkinson
Australia
Ofelya Harutyunyan
Armenia
163
Nicci Haynes
Australia Helga Cmelka
Austria
Gerlinde Thuma
Austria
164
Teymur Daimi
Azerbaijan
Peter D. Gerakaris
Bahamas
165
Anisuzzaman Sohel
Bangladesh
Maksuda Iqbal Nipa

Bangladesh
166
Global Warming
Bangladesh
Yuri Yakovenko
Belarus
167
Rika Deryckere Nicole d’Herbais de Thun
Belgium Belgium
Hugo Besard
Belgium
168
Samuel Maita Argote
Bolivia
Phurba Namgay
Bhutan
169
Admir Ganić
Bosnia and Herzegovina , Slovenia
Alejandra Dorado
Bolivia
170
Nandipha Mntambo
Botswana
Taida Jasarevic
Bosnia and Herzegovina
171
Mabel Fontana
Brazil
Pablo Flaiszman
Brazil
172
Gergana Ivanova
Bulgaria
Boyan Yanev
Bulgaria
173
Denitsa Yaneva
Bulgaria
Dario Puggioni
Brunei
Ivaylo Ivanov
Bulgaria
174
Kristina Damyanova
Bulgaria
Kalina Milanova
Bulgaria
175
Mario Bazel
Bulgaria
Peter Chinovsky
Bulgaria
176
Rossen Stanoev
Bulgaria
Rumyana Karastamova
Bulgaria
177
Venceslav Antonov
Bulgaria
Snezhina Biserova
Bulgaria
178
Leong Seckon
Cambodia
Agustin Rolando Rojas

Canada
179
Davida Kidd
Canada
Tracy Templeton
Canada
180
Deborah Chapman
Canada
Guy Langevin
Canada
181
Deborah LuLu Chapman
Canada
Christiane Ro
Canada
182
Sean Caulfield
Canada
Derek Michael Besant

Canada
183
CAI Wantong
China
Victor Femenias
Chile
184
TAN Jiajia
China
Peili Huang
Taiwan
185
Xie Chong
China
Xiang Li
China
186
Zhang Hui
China
ZHANG Minjie
China
187
Huang Xu
China
Song Jixin
China
188
Guilan Qiu
China
Yuan Qinglu
China
189
Randy Mora
Colombia
Orlando Martinez Vesga

Colombia
190
Alberto Murillo
Costa Rica
Pierre Mukeba
Congo
191
Edvin Dragičević
Croatia
Ana Vivoda
Croatia
192
Beliks Ayon
Cuba
Luis Miguel Valdes

Cuba
193
Simone Philippou
Cyprus
Alena Kučerová
Czech Republic
194
Lene Bennike
Denmark
Jyrki Markkanen
Denmark
195
Ramon Peralta
Dominican Republic
Lisa Brunetti
Ecuador
196
Ayman Kadry
Egypt
Betty La Duke
Eritrea
197
Benjamin Vasserman
Estonia
Inga Heamägi
Estonia
198
Hazem Taha Hussein
Egypt
Kelli Valk
Estonia
199
Peeter Allik
Estonia
Maria Erikson
Estonia
200
Jenny Saville
Finland
Eeva Liisa
Finland
201
Keshav Malla
France
Leroy Garioud
France
202
Jason Reittom
France
Sonia Mottier
France
203
Jean Michel Mathieux
France
Roland Flexner
France
204
Levan Mindiashvili
Georgia
Boris Nzebo
Gabon
205
Ulrich J. Wolff
Germany
Ferdinand Kriwet
Germany
206
Gandalf Gavanb
Germany
Heike Negenborn
Germany
207
Amaryllis Siniossoglou
Greece
Cristiana Iliopolos
Greece
208
Patrikiou Stefania
Greece
Ioannis Anastasiou
Greece
209
Alvaro Sanchez
Guatemala
Mathias Kauauge
Guinea-Bissau
210
Liu Guosong
Hong Kong
Winnie Mak
Hong Kong
211
Deak Nemeth Maria
Hungary
Pató Károly
Hungary
212
Károly Pató
Hungary
Istvan Orosz
Hungary
213
Elva Hreiðarsdóttir
Iceland
Rakesh Bani
India
214
Sagar Kadaval
India
Sanjay Kumar
India
215
Edie Hara
Indonesia
Aoife Layton
Ireland
216
Strun Hamilton
Ireland
Massoud Arbshahi
Iran
217
Basil Colin Frank
Israel
Albina Dealessi
Italy
218
Alberto Balletti
Italy
Daniela Savini
Italy
219
Daniela Sobetchi
Italy
Elisa Pellizzari
Italy
220
Elisabetta Diamanti
Italy
Lara Monica Costa

Italy
221
Maurizio Muolo
Italy
Marco Trentin
Italy
222
Maria Teresa Rizzuti
Italy
Veronica Longo
Italy
223
Paolo Ciampini
Italy
Valeria Bertesina
Italy
224
Masaaki Sugita
Japan
Sadao Sakurai
Japan
225
Yoshito Arichi
Japan
Toshio Yoshizumi
Japan
226
Yuji Hiratsuka
Japan
Fujita Osamu
Japan
227
Funasaka Yoshisuke
Japan
Hiroya Yasukochi
Japan
228
Ikuma Nao
Japan
Imamura Yoshio
Japan
229
Katsunori Hamanishi
Japan
Koichi Yamamotol
Japan
230
Nana Shiomi
Japan
Masahiro Fukuda
Japan
231
Risho Shigeo
Japan
Sachiko Kazama
Japan
232
Shinoda Tōkō
Japan
Takayasu Jun
Japan
233
Tomita Fumio
Japan
Takayasu Jun
Japan
234
Taniai Harumi
Japan
Yoshikazu Tanaka
Japan
235
Yoko Seyama
Japan
Yamamoto Keisuke
Japan
236
Nasil Kwak
South Korea
Kumnam Baik
South Korea
237
Hye Jeong Kwon
South Korea
Jiyen Lee
South Korea
238
Aleksander Lufer
Kyrgyzstan
Seung Yeon Kim

South Korea
239
Kristaps Ģelzis
Latvia
Juris Petraskevics
Latvia
240
Mikeles Fisers
Latvia
Eglė Kuckaitė
Lithuania
241
Davor Keskec
Macedonia
Domenico Gnoli
Luxembourg
242
Aleksandar Gulevski
Macedonia
Ana Spasova
Macedonia
243
Dejvid Stoilkovski
Macedonia
Goran Ristovski
Macedonia
244
Dijana Tomik Radevska
Macedonia
Ilija Trajkovski
Macedonia
245
Ivana Nasteska
Macedonia
Lidija Pachemska
Macedonia
246
Marija Svetieva
Macedonia
Robert Mihajlovski
Macedonia
247
Stefan Jakimovski
Macedonia
Trajce Blazevski
Macedonia
248
Stefan Mladenovski
Macedonia
Valdeta Vuciterna
Macedonia
249
Vladimir Simonovski
Macedonia
Zoran Jakimovski,
Macedonia
250
Pande Petrovski,
Macedonia
Vlado Goreski,
Macedonia - Slovenija
251
Abdul Mansoor Ibrahim
Malaysia
Joyce Camilleri
Malta
252
Eduardo Robledo
Mexico
Jorge Noguez
Mexico
253
Mar Gasca Madrigal
Mexico
María Mizrahi
Mexico
254
María Luisa Estrada Sánchez
Mexico
Miriam G, Trauwitz
Mexico
255
Victor Gabriel Leyva
Mexico
Victor Manuel Hernández Castillo

Mexico
256
Emilien Maricot
Mexico
Macovei Alexandru
Moldova
257
Stevie Tate
Monaco
Zeljko Djurovic
Montenegro
258
Jelena Jovančov
Montenegro
Razan Sabbagh
Morocco
259
Nelsa Guambe
Mozambique
Joshua Yeldham
Nauru
260
Kabi Raj Lama
Nepal
Sudeep Kumar Bashyal

Nepal
261
Bert Brouwer
Netherlands
Herman Noordermeer
Netherlands
262
Josée Wuyts, Frans de Groot
Netherlands
Jaco Putker
Netherlands
263
Jacomijn den ENGELSEN
Netherlands
Jacqueline Aust
New Zealand
264
Struan Hamilton
New Zealand
Carlos Barberena
Nicaragua
265
Bruce Onobrakpeya
Nigeria
Ade Adesina
Nigeria
266
Jannik Abel
Norway
Cathrine Dahl
Norway
267
Martin Due
Norway
Marianne Boberg
Norway
268
Torill Elisabeth Larsen
Norway
Randi Strand
Norway
269
Radhika Hamlai
Oman
Imran Channa
Pakistan
270
Manuel Lau
Peru
Laila Shawa
Palestine
271
Małgorzata Stanielewicz
Poland
Adrian Schichta
Poland
272
Agnieszka Łukaszewska
Poland
Agnieszka Lech - Bińczycka

Poland
273
Anna Sadowska
Poland
Anna Kodź
Poland
274
Beata Króliczak-Zajko
Poland
Anna Trojanowska
Poland
275
Dorota Nowak - Rodzińska
Poland
Ewelina Kołakowska
Poland
276
Ewa Wiśniewska-Zduniak
Poland
Henryk Krolikowski
Poland
277
Kamil Kocurek
Poland
Irena Lawruszko
Poland
278
Katarzyna Pyka
Poland
Katrina Sadrak
Poland
279
Krystyna Maniecka-Bogdan
Poland
Łukasz Bogdan
Poland
280
Małgorzata Łuszczak
Poland
Łukasz Koniuszy
Poland
281
Marek Zajko
Poland
Marcin Bialas
Poland
282
Margherita Chomicz
Poland
Oksana Budna
Poland
283
Paweł Bińczycki
Poland
Paulina Bobak
Poland
284
Sebastian Łubiński
Poland
Pawel Delekta
Poland
285
Vinicius Libardoni
Poland
Ewa Stawiarska-Zygalska
Poland
286
Antoni Kowalski
Poland
Wieslaw Haladaj
Poland
287
Kacper Bożek
Poland
Jakub Jaszewski
Poland
288
Sandra Szyra
Poland
Łukasz Koniuszy
Poland
289
Duarte Esmeriz
Portugal
Martin Garcia Rivera

Puerto Rico
290
Fantanariu Suzana
Romania
Alexandru Jakabházi
Romania
291
Iosif Mihailo
Romania
Karoly Zold Gyongy

Romania
292
Mihai Voicu
Romania
Ovidiu Petca
Romania
293
Darya Eltsova
Russia
Alexey Parygin
Russia
294
Aljona Shapovalova
Russia
Alex Barreto
Russia
295
Vladimir Zuev
Russia
Kurilenko Liubov
Russia
296
Vladimir Vereschagin
Russia
Kirill Romenskiy
Russia
297
Dimitrije Pecić
Serbia
Đerđi Ačaji
Serbia
298
Dominika i Daniela Morariu
Serbia
Bojan Otašević
Serbia
299
Gala Čaki
Serbia
Jelena Petrovic
Serbia
300
Dominika Morariu
Serbia
Jelena Sredanović
Serbia
301
Sanja Žigić
Serbia
Minja Radasinovic
Serbia
302
Nikola Kašterović
Serbia
Milan Krajnovich
Serbia
303
Tomas Zemla
Slovakia
Andreja Eržen
Slovenia
304
Andre Tan
Singapore
Vladimir Milanovic
Serbia
305
Domen Dimovski
Slovenia
Frelih Črtomir
Slovenia
306
Alja Košar
Slovenia
Aleksandra Zalokar
Slovenia
307
Andreja Eržen
Slovenia
Ana Hribar
Slovenia
Anita-Indihar-Dimic Barbara Jurkovšek

Slovenia Slovenia
308
Damjana Stopar
Slovenia
Gloria Ana Lupus

Slovenia
Eva Šuster
Slovenia
309
Hamo Čavrk Jaka Bonča
Slovenia Slovenia
Ivo Mršnik
Helena Tahir
Slovenia
Slovenia
310
Jasmina Grudnik
Slovenia
Klemen Zupanc
Slovenia
Janez Miso Knez Matjaž Geder

Slovenia Slovenia
311
Polona Pečan
Slovenia
Nik Anikis
Slovenia
Luka Popič Nina Koželj

Slovenia Slovenia
312
Tina Mohorović
Slovenia
Tanja Špenko
Slovenia
Svetlana Jakimovska– Rodič

Slovenia
313
Vesna Drnovšek
Slovenia
Zora Stančič
Slovenia
314
Boge Dimovski
Slovenia
Maruša Štibelj
Slovenia
315
Janko Orac
Slovenia
Franko Vecchiet
Slovenia, Italy
316
Brut Carniollus
Slovenia
Maja Zemunik
Slovenia
317
Vlado Skrk
Slovenia
Tina Konec
Slovenia
318
Andrej Jemec
Slovenia
Zora Stančič
Slovenia
319
Christiaan Diedericks
South Africa
Karin Miller
South Africa
320
Ibirico
Spain
Bárbara Shunyí
Spain
321
Janis Karydakisa
Sweden
Denis Steen
Sweden
322
Lars Hoffsten
Sweden
P.O Larsson
Sweden
323
Christopher Rådlund
Sweden
Marianne Boberg
Sweden
324
Eva Harr
Sweden
Odd Skullerud
Sweden
325
Maria Winbjörk
Sweden
Arnold Hagstrom
Sweden
326
Annette Hammaren
Sweden
Mikael Kihlman
Sweden
327
Curt Hamne
Sweden
Jukka Vanttinen
Finland
328
Josefin Skon
Sweden
Jenny Olsson
Sweden
329
Mellin Helena
Sweden
Olof Sandahl
Sweden
330
Lars Hoffsten
Sweden
Mattias Fagerholm, Sweden
331
Didier Rittener
Switzerland
Torbjorn Damm
Sweden
332
Alian Huck
Switzerland
Chu Teh-Chun
Taiwan
333
Lee Wen-Jye
Taiwan
Lo Pin-Ho
Taiwan
334
Jadsada Potisit
Thailand
Chaivut Ruamrudeekool
Thailand
335
Petcharaporn Sopap
Thailand
Wal Chirachaisakul
Thailand
336
Thamrongsak Nimanussornkul
Thailand
Amoron Thongpayung
Thailand
337
Tezcan Bahar
Turkey
Serife Sen Akkas

Turkey
338
Selvihan Kılıç Ateş
Turkey
Refik Anadol
Turkey
339
Oleg Denysenko
Ukraine
Olesya Dzhurayeva
Ukraine
340
Konstantin Kalynovych
Ukraine
Ulyana Turchenko
Ukraine
341
Anne Desmet
United Kingdom
Jake and Dionis Champan

United Kingdom
342
Adrian Tio
USA
Endi Poskovic
USA
343
Grace Sippy
USA
Craig Mcpherson
USA
344
Carol Wax
USA
Evan Summer
USA
345
Trevor Foster
USA
David De La Mano
Uruguay
346
Anh Ta
Vietnam
Nguyen Duc Hung

Vietnam
347
ИГТ БИТОЛA ITG BITOLA
----------------------------------------
------------------------------------
Идеен концепт и реализација Idea concept and realization:
Владо Ѓорески, уметнички раководител Vlado Goreski, artistic director
Превод и лекторирање Translation and proofreading
Пецо Неделковски Peco Nedelkovski
Фотографии Photos:
Oд архивите на авторите (доколку не е поинаку наведено)
From the archives of the authors (unless otherwise stated)
Меѓународно жири International jury:
Венцеслав Антонов, директор на Меѓународното биенале за графика - Варна, претседател
Venceslav Antonov, director of the International Biennale of Graphics - Varna, president
Владо Ѓорески, Меѓународно графичко триенале Битола - ИГТ БИТОЛА
Vlado Goreski, International Triennial Of Graphic Art Bitola-ITT BITOLA
Деница Јанева, професор на ликовна академија
Denica Yaneva, professor at art academy
Проектот е финансиран од Министерството за култура на Република Македони

The project is financed by the Ministry of Culture of the Republic of Macedonia
CIP - Каталогизација во публикација
76.036/038”55 - 03”(06.091)
МЕЃУНАРОДНО графичко триенале (10 ; 2022 ; Битола)

30 години меѓународно графичко триенале ИГТ Битола / Владо Ѓорески
;
[превод од македонски на англиски јазик Пецо Неделковски] = 30 Years
International triennial of graphic art IGT Bitola / Vlado Goreski ;
[translation from macedonian to english Peco Nedelkovski]. - Битола : НУ
Завод и Mузеј Битола, 2022. - 176 стр. : илустр. ; 29,7x21 см
Текст напоредно на мак. и анг. јазик
ISBN 978-608-4754-17-6
а) Современа уметност -- Графика -- Триенале -- Јубилеи
COBISS.MK-ID 58728709
30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА 30 YEARS INTERNATIONAL TRIENNIAL OF GRAPHIC ART ITG BITOLA 10 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ БИТОЛА- ИГТ BITOLA
10 INTERNATIONAL TRIENNIAL OF GRAPHIC ART BITOLA-ITT BITOL
30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ - МГТ БИТОЛА 30 YEARS INTERNATIONAL TRIENNIAL OF GRAPHIC ART - ITG BITOLA 10 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ БИТОЛА- ИГТ BITOLA
10 INTERNATIONAL TRIENNIAL OF GRAPHIC ART BITOLA-ITG BITOLА
350

Vlado Goreski - 30 Years - International Triennial of Graphic Art Bitola - ITG Bitola, Monography

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Владо Ѓорески Vlado Goreski

30 ГОДИНИ МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ

Magi~niot karakter na grafi~kiot list сè¡u{te ja nosi tajnata na multiplikacijata

6. ...последниот остров или осаменост...

5. ... faces and signs...

6. ... the last island or solitude....

9. ... depositions ...

9 МЕЃУНАРОДНО ГРАФИЧКО ТРИЕНАЛЕ МГТ БИТОЛА

Dominguez-Penis Franncisco, Spain

Hadzi Boskov Petar, Macedonia

Kiril Gegoski, Macedonia

Luisa Bertani, Italy

Malidanov Dimitar, Macedonia

Ranka Lučić Janković, Serbia

Metamangrum Vorakorn, Thailand

Beauvais Francine, Canada

Jancovic Robert, Slovakia

Dicks Trudi, Namibia

Kocovski Ilija, Macedonia

Krystyna Piotrowska, Poland

Leo Rey, Israel

Koexae Ogam, Botswana

Opy Zouni, Greece

Dimitar Kocevski Mico, Macedonia

Mira Bocniowicz, Poland

Sandy Sykes, England

Fuki Hamada, Japan

Nauer Spindola, Brazil

Jochen Koehn, Germany

Sandro Bracchita, Italy

Ryo Saitoh, Japan

Seung Yean Kim, Korea

Pedro Asencio Mateos, Mexico

Ella Tsyplyakova, Russia

Marcian Bialas, Poland

Jiri Neuwirt, Czech Republic

Hwang Jeon-Il, Korea

Abdel Wahav Abdel Mohhsen, Egypt

Ryo Saitoh, Japan

Maurice Rasternak, Belgium

Josip Butkovic, Croatia

Maria Estefanell Jose, Argentina

Gerard Trignac, France

Art Werger, USA

Bogdan Krsic, Serbia

Derek Michael Besant, Canada

Elfi Schuselka, USA

Hugo Besard, Belgium

Janne Laine, Finland

Marc Frising, Luxembourg

Murat Ertürk, Turkey

Reti Saks, Estonia

Sadao Sakurai, Japan

Tomoya Uchida, Japan

Agata Gertchen, Poland

Andre Bongibault, France

Chaivut Ruamrudeekool, Thailand

Zoran Mishe, Macedonia

Guy Langevin, Canada

Lee Sea Hyun, Korea

Mehrdad Khatae, Iran

Paul Coldwell, England

Peter Augustovic, Slovakia