New commissioned work for the group exhibition "ANARCHIC BODIES: Consent not to be a single being,” curated by Slavcho Dimitrov, part of Festival for Queer Art, Culture, and Theory – Skopje Pride Weekend 2026.

Museum of Contemporary Art Skopje
(31.05.–01.07.2026)
 
Wall installation of three multi-layered drawings (70 × 50 cm each) and four smaller ones (29.7 × 21 cm each), created with paper cutout technique, as well as a mural executed in dry pigment (600 × 200 cm).

The title of this installation is borrowed from the curatorial concept of the exhibition. It consists of newly created works made with different materials (paper, pigment) and using various techniques (cut-out, painting with dry pigment on walls), into which words (archē, лузна/scar, joyous, enlarging, свет/world, body, желбено/desirous) written in my nonbinary typography Archetype Open Form are integrated.

The installation is conceived as a wilderness unfolding before the eyes of the visitor, inspired by the book Wild Things and the text Unbuilding Gender: Trans Anarchitectures In and Beyond the Work of Gordon Matta-Clark* by Jack Halberstam. It is composed of works of varying sizes - from small, to large, to the largest - in order to create a sense of visual depth, through the pulsation of pink, a color of transition, affect, and excitement. The wilderness here is a metaphor for the space of monsters and beasts - those strange beings and constructs - while the cuts, and openings, from which these multilayered works are made confirm that nothing in this wilderness is seemingly simple, two-dimensional, or binary. Recognizable silhouettes disappear into the multitude of layers formed by other silhouettes that overlap and flow into one another, shifting from pink into red, into gray, where the seams tighten and create a hybrid - a body that cannot be closed within itself. It is like looking through a dense landscape, your gaze overtaken by the multitude of forms and colors, details and textures. Or like the incision of a scalpel cutting through a surface in order to reveal the layered interior of a body that is at once attractive and repulsive. The monster is a body that renders its own interior visible; therefore, the wilderness is not a landscape “outside” the body, but rather its exposed interior.

In a political sense, the strategy of overlapping interrupts the logic of transparency historically associated with power: to name, to classify, to place within a hierarchy. “The right to opacity” is not merely a formal or aesthetic decision, but an act of resistance - a refusal to be fully exposed, translated, explained, and appropriated by the gaze of the other. In this context, abstraction is not an escape from reality, but an opening toward it as something greater than our systems of knowledge. It invites us to activate imagination, not to “understand” everything, but to accept that there are worlds that cannot be fully closed within themselves - and it is precisely in that impossibility that their vitality resides.