Full essay here
Yane Calovski: Truth and Content
by Anders Kreuger
I’m not drawn to grand narratives. I’m more interested in accuracy of presentation and elasticity of form.
– Yane Calovski interviewed by Başak Şenova, 20121
This essay inaugurates Kohta’s new series ‘Appraisals’, dedicated to artists in our exhibition programme. The series will offer critical appraisals of their achievementsand relate their interests and intentions to contemporary art as a global constituency of individuals and communities, thought and action, form and truth.
We will aim to perform ‘the action or act of estimating or assessing the quality or worth of something or someone’, which is how the Oxford English Dictionary defines the second meaning of appraisal.
The first, older and more tangible meaning of the wordis given as ‘the action or act of setting a price on or estimating the monetary value of something’. This is not an active concern for us, but we can never fully anticipate the side effects, in social and economic life, of our intellectual undertakings.
The immediate reason for launching our new series with an analysis of Yane Calovski’s practice from the late 1990s until now is his exhibition ‘Personal Object’ at Kohta. It opened to the public on 11 March 2020, closed because of Covid-19 on 17 March, reopened on 2 June and will remain open through 2 August.
‘Personal Object’ was too modest in scope and size to function as a mid-career retrospective. This is usually a much more ambitious exercise in taking stock of an artist’s oeuvre, and also a tool for looking ahead at the ‘not yet said, not yet done’ (to quote the title of a series of paintings by Nina Roos, the artist next in line for an exhibition and an appraisal).
This text will try to do what the exhibition specifically didn’t aim for, namely to situate Calovski’s practice and oeuvre in a wider context. So there seems to be no way around the artless initial gesture of establishing some factual coordinates.
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