Small Lake, Pelister el. 2180m. Macedonia The Land Print Projects include the site-specific works: Small Lake, Pelister (1994), I and the eye(1996) and Salt (2018). All three projects took place at the glacial lake Small Lake, Pelister, Republic of Macedonia (altitude of 2,180m). Dr Suzana Milevska has coined the term 'land print' to represent the connection between the artist’s printmaking and site-specific land work. It addresses the theme of topology of the sublime through the use of video work, photographs and objects. The Land Print Projects are ephemeral, including interventions with various objects and materials in and around the lake. The interconnectedness of objects sourced from different cultural and historic sites and times, concerning the self and the lake, represents the core idea of the Land-print Projects.
Mirror, 1994. Land-Print Project I, Small Lake, Pelister National Park (el. 2180m.) Macedonia Site-specific performance including a mirror, 4 glass ball object, 3 circular zinc plates and a bottle with blue pigment. "The first phase, observing her image in the mirror, in which she simultaneously peers out at the reflection of the lake, is necessary to identify the limits of her own body. Like in the “mirror stage”, well known from the psychoanalytical discourse (Lacan, Kristeva) in which the subject identifies oneself only through the fragmentation of “self’ and “other”, (the own reflection in the mirror), Capovska locates her own identity out of the boundaries of her own body-in her reflection but, at the same time, in the reflection of the lake on the same surface of the mirror” (Milevska 1994). Object: mirror. Author of the project and video: Violeta Capovska. Published by: Museum of the City Of Skopje, Macedonia. Curator of the project and author of the lecture, The Small Lake: Topography of the Exemplification of the Sublime: Dr Suzana Milevska. Photography and video camera: Robert Jankuloski. Guides to the lake: Zlatko Sterjov and Simeon Girovski Sponsor: Soros Centre for Contemporary Arts- Skopje, Macedonia
Bottle with blue pigment, Land Print Project 1, 1994. Land-Print Project I, Small Lake, Pelister National Park, el. 2280m. Macedonia. Site-specific performance. Object: bottle with blue pigment. Published by: Museum of the City of Skopje, Macedonia. Sponsor: Soros Centre for Contemporary Arts- Skopje, Macedonia. The first project. Land Print Project (1994) is concerned with the theme of location of identity and the ecological integrity of the lake. It draws on the cultural theory of identity, self and nature.
Sound wave, Land Print Project II, 1996 Land-print project II, Small Lake, Pelister National Park, el. 2180m. Macedonia. Site-specific performance, lithograph on silk chiffon. Guides to the lake: Blagoja Lazarevski and Mile Dimitrovski. Courtesy of the artist. Published by: Makedonska kniga, Skopje. Author of the catalogue text “Walking along the edge of Invisibility”: Dr Suzana Milevska. Soros Centre for Contemporary Arts- Skopje, Macedonia.
Sign on the snow, Land Print Project II, 1996 Land - Print Project II, Pelister National Park, desert sand, snow. Site-specific performance. Courtesy of the artist
Magnifying glass, 1996 Land Print Project II, Small Lake, Pelister National Park, el. 2280m. Macedonia. Site-specific performance. Object: the magnifying glass. Author of the catalogue text “Walking along the edge of Invisibility”: Dr Suzana Milevska. Published by: Makedonska kniga, Skopje. Sponsor: Soros Centre for Contemporary Arts- Skopje, Macedonia. Guides to the lake: Blagoja Lazarevski and Mile Dimitrovski.
Glass, 1996 Land-print project II, Small Lake, Pelister National Park, el. 2280m. Macedonia. Site-specific performance. Object: glass. Author of the catalogue text “Walking along the edge of Invisibility”: Dr Suzana Milevska. Published by: Makedonska kniga, Skopje. Sponsor: Soros Center for Contemporary Arts- Skopje, Macedonia. Guides to the lake: Blagoja Lazarevski and Mile DImitrovski. The second project, 'I and the eye' (1996), continues to engage with the aesthetics of the sublime, exploring the philosophical consequences of the metaphorical and rational concepts of nature. The project explores the interplay of different meanings (signifiers) between the objects, the lake and the self. The second project considers the scientific and rational view of the lake.
Mixing salt, Land Print Project III, 2018 Land Print Project III, 2018, site-specific performance, continues Čapovska’s ongoing investigation into the location of identity and ecological integrity of the Small Lake, Pelister National Park, Macedonia (elevation 2,180m).
Dusk, 2018 Land Print Project III, SALT, paper, site-specific performance. Small Lake, Pelister National Park, Macedonia (elevation 2,180m). Videography and Photography: Istok Chapovski.
Salt, video still 2019 Salt, video still 2019. Digital video, sound, colour, duration: 04:31 min. Videography: Istok Chapovski. Sound composition: Gorazd Čapovski, Small Lake, Pelister National Park, Macedonia (el 2180 m). The idea of encircling the lake with a line of salt introduces the question of conservation and the fragile wish to protect the lake.. The salt is combined from Macedonia and Australia. Australian salt is harvested from a 5-million-year-old natural salt lake, situated in the remote regions of Western Australia- ‘Lake Crystal’.The Macedonian salt is a fine cooking salt, bought at the market in Skopje. It originates from Tuzla, Bosnia and Herzegovina. The encircling of the lake lasts 20 minutes but is not fully completed. In the last few metres, the artist decides to return to the starting point.
Mixing salt 2, 2018 Land Print Project III. Site-specific performance. Small Lake, Pelister National Park, Macedonia (elevation 2,180m). Photography and Videography: Istok Chapovski. Salt is chosen for its immunity towards decay, as well as its reflectiveness. The central idea of the project is placing salt’s immutability in an unpredictable environment of the lake.