The Idea as a Concept, Materialization of the Immaterial

The conceptual discourse has always attracted the attention of the artists, because it gives solid ground for a variety of creative explorations in various disciplines, media, as well as thematic and technological chapters. Visualizing the idea, decision for art simplification, de-elitization of the art and pronouncing everyday objects for products of creative engagement as well as the involvement of the performative aspect in generating a complex creative idea is precisely the defining categorization when it comes to embracing interpretation of the work of young artist Koja. Her presentation in front of the Macedonian audience includes several different cycles processed in a longer period of time, art-works in a variety of media and techniques. Namely it is a word about the projects, “I have learned,” photo-installation and performative presentation, “Under the Collar”, video, and “Watermelons and balloons” paintings.

In all of the projects the key conceptual systematism as a structure can vertically vivisect Koja’s works. Materialization of the immaterial in terms of decision making something that is not a work of art in itself, to become such, to erase its aura of being an everyday object separately from its meaning and emotional value and to assign another aesthetic dimension (“I have learned” ); then inclusion of aspect of intervention on an original and highly qualified art process as such, in order to give a different material structureness, or with other words this act to become an art performance, rather than pure performance of a capella aria (“Under Collar”); or paintings, which points out the opponency of the full and the empty, the weight and the volume, the natural and the artificial roundness “airiness” which basically have different aspects of destruction as an allusion of the current situation in our quasi-post-modern, yet transitional societies (“Watermelons and balloons”).

The Visual-fine art base, which of course lies, in the classic sense of the word, in her paintings, consists of two stylistic approaches towards the conceptual synergy: watermelons and bubbles; first (from 2008) is more with expressive performance and particular attention to the painting process, while the second (produced in 2012) is more focused on pure visuality, with certain implications from the hyper or photo realism for more literal conceptual reading of the message. Although divergent basically both accesses do foster the ideosyncracy which is being transmitted deeply in the nascent initiation of Koja.

The core of the artistic qualification of the other two projects lies in the willingness of Koja bravely to elaborate in the areas of the visual experiment in which by a decision she is publicating her own gesture, forming seemingly simple “document” to become public cognitive and proclaiming the same as an artwork. This act of notification is humanized and enlightened by rehearsing performance of the artist Durmishi who with his a capella performance sanctifies and descanding the value of the human and artistic gesture. “Under Collar,” which again cooperates with Durmishi – a professional solist/tenor, but this time Koja uses his body or more specifically his voice as the main medium to intervene and to materialize a perfect change in something that is already perfect by itself, becoming a director and a creator of an act of a decision to change, implementing Chanson’s cow to Durmishi’s neck, by it all creating a new video and audio changed reality. That body-installating performance includes multiple levels, both visually and materially and formally and structurally and emotionally and psychologically.

The formal diversity and the conceptual similarity in all of the projects of Fitore Isufi – Koja point out that it is a word of a qualitative researcher that deeply plunges into different areas of the visual arts, elaborating not superficial, but deep in the core of its ideotheque, managing always to find lending visual solution that maintains the aesthetic and qualified art mapping standards. Satisfaction is even greater when the artist will find a thinker, but also the child in oneself and will nurture and nourish them creating intriguing, playful and systematic art works.

Ana Frangovska, curator