Mirror, 1994. Photograph. 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. 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, Photograph. Land Print Project 1, 1994. Small Lake, Pelister National Park, el. 2180m. Macedonia. Site-specific performance. Photography and video camera: Robert Jankuloski. 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. Photograph. 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. Photography: Simon Gillian. Published by: Makedonska kniga, Skopje. Soros Centre for Contemporary Arts- Skopje, Macedonia.
Sand, Photograph. Land Print Project II, 1996. Pelister National Park, desert sand, snow. Photography: Simon Gillian.
Magnifying glass, 1996. Photography: Simon Gillian. Land Print Project II, Small Lake, Pelister National Park, el. 2280m. Macedonia. Published by: Makedonska kniga, Skopje. Guides to the lake: Blagoja Lazarevski and Mile Dimitrovski.
Glass, 1996. Land-print project II, Small Lake, Pelister National Park, el. 2280m. Macedonia. Photography: Simon Gillian. 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, Photograph. Land Print Project III, "Salt", 2018. This 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). Photography: Istok Chapovski
Dusk, 2018. Photograph. Land Print Project III, "Salt", paper, site-specific performance. Small Lake, Pelister National Park, Macedonia (elevation 2,180m). Photography: Istok Chapovski.
Video still: Salt, 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. Photograph. Land Print Project III "Salt". Site-specific performance. Small Lake, Pelister National Park, Macedonia (elevation 2,180m). Photography: 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.