{"id":4049,"date":"2025-11-26T12:03:44","date_gmt":"2025-11-26T10:03:44","guid":{"rendered":"https:\/\/art-thessaloniki.gr\/museum-exhibition\/osten-museum-skopje-art-project-colour-non-colour-2025\/"},"modified":"2025-12-15T15:53:13","modified_gmt":"2025-12-15T13:53:13","slug":"osten-museum-skopje-art-project-colour-non-colour-2025","status":"publish","type":"museum-exhibition","link":"https:\/\/www.art-thessaloniki.gr\/en\/museum-exhibition\/osten-museum-skopje-art-project-colour-non-colour-2025\/","title":{"rendered":"OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour (2025)"},"content":{"rendered":"\t\t
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OSTEN MUSEUM Skopje
ART Project: Colour & Non-Colour<\/strong>
Paintings & Videos by
Kiro URDIN & Mice JANKULOVSKI<\/strong><\/p>\n

Curator: Kornelija Koneska<\/p>\n

The art project Colour & Non-Colour of the OSTEN Museum Skopje showcases the creative collaboration between artists Kiro Urdin and Mice Jankulovski. Through a dynamic interplay of vibrant hues and monochromatic tones, the project explores contrasts\u2014between presence and absence, emotion and restraint, and the tangible versus the abstract. Urdin and Jankulovski blend expressive techniques, bold color fields meeting minimalist compositions, inviting viewers to reflect on perception and artistic duality. The project highlights OSTEN Museum’s commitment to innovative contemporary art, offering a visually striking and thought-provoking experience. The art project Colour & Non-Colour which the OSTEN Museum Skopje presents in front of the international public at the 8th International Contemporary Art Fair ArtThessaloniki 2025, features a compelling selection of two key paintings and two video works\u2014one from each artist\u2014 highlighting their contrasting yet complementary approaches.<\/p>\n

Kiro URDIN<\/strong><\/p>\n

Nucleus (2022, Oil on canvas, 200 x 150 cm)<\/p>\n

A cosmic explosion of energy, Nucleus embodies Urdin\u2019s mastery of color as a primal, almost elemental force. The painting\u2019s impressive scale engulfs the viewer in a whirlpool of radiant blues, fiery reds, and deep violets, applied in layers with almost meditative application of numerous cube forms, seem to pulse with life. The title suggests a birth\u2014a moment of creation where light and matter collide. Urdin\u2019s technique recalls Abstract Expressionism\u2019s raw physicality (think de Kooning\u2019s Excavation), but with a distinctly contemporary sensibility, as if the digital age\u2019s flickering screens have been translated back into visceral, organic paint. The composition pulls the eye toward a luminous central core, evoking both a celestial body and a microscopic cell\u2014a reminder that color, at its most intense, transcends scale. This is painting as event: a burst of chromatic energy frozen in time.<\/p>\n

Planetarium (2013, Experimental Film)<\/p>\n

Planetarium is a mesmerizing journey into the cosmos of color and motion, where Urdin translates his painterly language into the realm of moving images. This experimental film transforms the screen into a dynamic canvas, where celestial bodies seem to collide, dissolve, and rebirth themselves in an endless dance of light. Urdin employs abstract animation techniques to create swirling galaxies of pigment, where vibrant hues bleed into one another like interstellar nebulae. The film\u2019s textures evoke both the tactility of his oil paintings and the fluidity of digital media\u2014blurring the line between the handmade and the algorithmic. The absence of figurative elements heightens the sensory experience, immersing the viewer in pure chromatic energy. Cosmology Meets Creativity: The title Planetarium suggests a scientific observation of the universe, yet Urdin\u2019s approach is deeply poetic. The film mirrors the birth and death of stars, drawing parallels between cosmic cycles and the artist\u2019s process\u2014destruction and creation as intertwined forces. Time as a Medium: Unlike static paintings, the film unfolds in time, allowing Urdin to explore color as a temporal phenomenon. Pulsing rhythms and gradual transitions mimic breathing, heartbeats, or even the slow expansion of the universe. Digital Alchemy: By digitizing his painterly gestures, Urdin questions the nature of materiality in the 21st century. Are these artistic forms still “paint,” or have they transcended into something new?<\/p>\n

Sensory Impact & Legacy<\/p>\n

Planetarium is less a narrative film than a meditative experience\u2014an invitation to lose oneself in color\u2019s emotional and metaphysical possibilities. It stands as a pivotal work in Urdin\u2019s oeuvre, bridging his physical paintings with later digital explorations. The film also echoes avant-garde traditions, while asserting its own contemporary relevance in an age of screens and infinite visual noise. Planetarium doesn\u2019t just depict a universe\u2014it becomes one, serving as an ultimate testament that color is not merely seen, but also felt through its frequency.<\/p>\n

Mice JANKULOVSKI<\/strong><\/p>\n

Breakthrough (2024, Acrylic on canvas, 195 x 195 cm)<\/p>\n

In stark contrast, Jankulovski\u2019s Breakthrough is a meditation on restraint. In the square canvas, a deliberate nod to modernist purity, a monochrome black field is dominated, fractured by a rasterized vertical shape with curved corners\u2014which justified the titular “Breakthrough.” Jankulovski\u2019s incision feels like a revealing: a glimpse of something hidden beneath the surface. The acrylic\u2019s matte finish absorbs light, giving the work a quiet, almost meditative presence. Yet the tension is palpable\u2014that single vertical shape disrupts the calm, suggesting a rupture in perception, a crack in the monochrome\u2019s illusion of infinity. It\u2019s a masterclass in minimalism\u2019s power: less as absence, more as potential.<\/p>\n

Macro World (2024, Video)<\/p>\n

In Macro World, Jankulovski constructs a meditative exploration of scale, texture, and the hidden poetry of his artworks. Stripping away color almost entirely, the video immerses the viewer in a dark, black universe where microscopic details become monumental, and ordinary surfaces of his artworks transform into enigmatic landscapes. Minimalist Cinematography: Shot in extreme close-up, the camera lingers on textures so abstracted that their original context dissolves. A crack in the acrylic paint becomes a canyon; a drop of the acrylic paint morphs into a celestial body. Monochrome as Revelation: By eliminating color, Jankulovski amplifies light and shadows. The play of high-contrast blacks and whites evokes the starkness of charcoal drawings or early avant-garde photography (Man Ray\u2019s rayographs, Moholy-Nagy\u2019s photograms). Slowness as Resistance: The video\u2019s glacial pace defies digital culture\u2019s obsession with speed. Each frame demands patience, echoing the philosophy of “seeing more by showing less.” The Sublime in the Neglected: Macro World uncovers beauty in Jankulovski\u2019s ongoing fascination with entropy and the passage of time. Scale as Illusion: The title is ironic. Is this a “macro” view of the small, or a cosmic perspective on the infinite? The ambiguity mirrors fractal geometry, where patterns repeat across dimensions. Materiality vs. Ephemerality: Unlike Urdin\u2019s Planetarium, which revels in color\u2019s fluidity, Macro World fixates on the physical\u2014yet the video medium itself renders these textures fleeting, a paradox Jankulovski leans into. The video\u2019s music (contemporary composition \u201cCalisto\u201d by Daria Andovska) heightens its hypnotic quality. It functions as a visual haiku, where every scratch and fissure carries weight. In an era of sensory overload, Macro World is a radical act of attention\u2014a reminder that profundity lurks in the overlooked. Macro World doesn\u2019t document reality\u2014it reconstructs it. A masterclass in how subtraction can reveal infinity.<\/p>\n

DIALOGUE between URDIN and JANKULOVSKI<\/strong><\/p>\n

Where Urdin\u2019s Planetarium explodes with color, Jankulovski\u2019s Macro World contracts into monochrome focus. Together, they form a diptych on perception: one expansive, the other introspective. Placed in conversation, Nucleus and Breakthrough become opposing poles of abstraction\u2019s possibilities. Urdin\u2019s painting is additive\u2014color piled upon color, a maximalist celebration of sensation. Jankulovski\u2019s is subtractive\u2014stripping away until only the essential remains. Yet both share a preoccupation with thresholds: Urdin\u2019s nucleus as a point of genesis, Jankulovski\u2019s shape as a moment of fracture. Together, they ask: Is art about revelation or reduction? Can a painting be both a scream and a whisper?<\/p>\n

These works don\u2019t just hang on a wall\u2014they act. Urdin\u2019s Nucleus overwhelms; Jankulovski\u2019s Breakthrough implores you to lean closer. The real “breakthrough” is how they redefine what abstraction can do.<\/p>\n

Kornelija KONESKA<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"featured_media":3897,"template":"","meta":{"_acf_changed":false},"year_of_participation":[39],"class_list":["post-4049","museum-exhibition","type-museum-exhibition","status-publish","has-post-thumbnail","hentry","year_of_participation-39"],"acf":[],"yoast_head":"\nOSTEN MUSEUM Skopje ART Project: Colour & Non-Colour (2025) - www.art-thessaloniki.gr<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.art-thessaloniki.gr\/museum-exhibition\/osten-museum-skopje-art-project-colour-non-colour-2025\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour (2025) - www.art-thessaloniki.gr\" \/>\n<meta property=\"og:description\" content=\"OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour OSTEN MUSEUM SkopjeART Project: Colour & Non-ColourPaintings & Videos byKiro URDIN & Mice JANKULOVSKI Curator: Kornelija Koneska The art project Colour & Non-Colour […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.art-thessaloniki.gr\/museum-exhibition\/osten-museum-skopje-art-project-colour-non-colour-2025\/\" \/>\n<meta property=\"og:site_name\" content=\"www.art-thessaloniki.gr\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-15T13:53:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.art-thessaloniki.gr\/wp-content\/uploads\/2025\/11\/k._urdin_nucleus_2022.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"604\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.art-thessaloniki.gr\\\/museum-exhibition\\\/osten-museum-skopje-art-project-colour-non-colour-2025\\\/\",\"url\":\"https:\\\/\\\/www.art-thessaloniki.gr\\\/museum-exhibition\\\/osten-museum-skopje-art-project-colour-non-colour-2025\\\/\",\"name\":\"OSTEN MUSEUM Skopje ART Project: Colour & Non-Colour (2025) - 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