Bettina Pelz

Andre Moeller
Kari Kola

Filip Avramcev





Filip avramcev

Stefan Aleksandar Jovanovski

Aleksandra Stratimirovic

Emil Petro

Martin Dimitrijev

Boban Manov

Skopje Light Art District конференција 2020
“Комуникација помеѓу уметниците и локалните новинари. Размена на искуства.”
Место: Тревник, градски парк (Вембли)
Петок, 21.08.2020, 20:00 – 22:00
SкLAD Панел дискусија
учесници: Дита Старова Ќерими (директорка на Национална галерија) С.Македонија
Тони Димков (уредник, Културен печат) С.Македонија
Бранка Костиќ Марковиќ (музички новинар и публицист-Астрорум) С.Македонија
Александра Стратимировиќ (визуелен уметник, уметнички директор на SкLAD) Шведска/Србија Модератор: Филип Аврамчев (продуцент на Skopje Light Art District)
- Како се комуницира уметностa?
- Како уметниците може да допрат до медиумите?
- Како се следи на современата уметничка сцена?
- Кои се новите тактики и како се прилагодуваме во време на пандемија?
- Колку медиумите во Македонија се спремни да известуваат за култура  и културен живот?
6x6 – Презентација на уметници, учесници на SkLAD 2020
- Наташа Поплавска (театарски режисер) С.Македонија
- Жил Увиг (визуелен уметник) Франција
- Андреј Павлов (фотограф) С. Македонија
- Петар Џон (визуелен уметник) С. Македонија
- Глигор Постоловски (3Д дизајнер) С. Македонија
- Борис Петровски (визуелен уметник) С. Македонија
Skopje Light Art District conference 2020
“Communication between artists and local journalists. Exchange of experiences.”
Location: City Park (Wembley)
Time: 8pm – 10pm, Friday, 21.08.2020
SкLAD Panel Discussion
Dita Starova Qerimi (director of the National Gallery) N. Macedonia
Toni Dimkov (editor, Kulturen pecat) N. Macedonia
Branka Kostic Markovic (music journalist and publicist - Astrorum) N. Macedonia
Aleksandra Stratimirovic (visual artist, artistic director of Sklad) Sweden / Serbia
Moderator: Filip Avramchev (producer of Skopje Light Art District)
- Communicating art
- Reaching out to the media
- Monitoring contemporary art scene
- New tactics during pandemic
6x6 – Artists presentations, SkLAD2020 participants
- Natasha Poplavska (theater director) N. Macedonia
- Jules Huvig (video mapping artist) France
- Andrej Pavlov (photographer) N. Macedonia
- Peter John (visual artist) N. Macedonia
- Gligor Postolovski (3D designer) N. Macedonia
- Boris Petrovski (visual artist) N. Macedonia
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Light art - new forms in art education

Daut Pasha’s Hamam


11am – 4pm



  • Welcome by Filip Avramcev, Director SKLAD

  • SKLAD 2019, Aleksandra Stratimirovic, Artistic director and Curator       

  • Bettina Pelz, Curator, Writer and Researcher (Germany)

        Lecture: “The Experiential Turn: Light In Fine Arts”

  • Aymen Gharbi, Curator and Culture Producer  (Tunis)

        Lecture: “Contemporary Art - Cultural Heritage – Democratic Culture”

  • Paul Friedlander, Light Sculptor and Scientific Artist (UK)

       Lecture: “A view in the creative process of Paul Friedlander”



1pm        Coffee & baklava



1:30pm –4pm

8x8–Artist presentations 


  • Nikola Zavisic/Radio.Nica, theatre director (Serbia)

  • Bertrand Gadenne, visual artist (France)

  • Matej Bizovicar, visual artist (Slovenia)

  • Leo Bettinelli/ Circus Lumineszenz, audio-visual artist (Argentina/Austria)

  • Peak Production, (North Macedonia, Serbia, Croatia)

  • Marko Kovacic, visual artist (Slovenia

  • Kurt Laurenz Theinert, visual artist (Germany)

  • Ema Popivoda, pianist (North Macedonia)


Bettina Pelz. Photo LIFAresearch Dortmun

Bettina Pelz, (Germany)

Curator, Writer and Researcher


Lecture: The Experiential Turn: Light In Fine Arts


Over the last 100 years, the reflected use of light in fine arts altered the canon of fine arts. Referring to the properties of light and the way it coins the visual experience patched the way for the exit from the image, the canvas and the screen. Shifts in artistic concepts furthered the idea of new qualities of aesthetic experiences. Contemporary displays are ephemeral project spaces, art and transdisciplinary festivals and a diversity of exhibition projects, rather in public space than in art institutions and museums. Over the last 25 years, the experiential turn reached large audiences and light art projects in public space turned out to be innovative sociocultural events _ which are of interest for the art and cultural sphere as much as for social work and city marketing. The lecture will sketch the key artistic aspects and historic-cultural settings, and it will reflect on the present academic and institutional responses.



The curatorial work of Bettina Pelz is dedicated to art-in-context projects. Her transdisciplinary projects are hosted at art institutions and in public space, in postindustrial environments and cultural heritage environments. She has been the founding curators of several sustainable art projects in Europe and Africa. Internationally she has been involved in projects in Australia, Croatia, Egypt, Estonia, Finland, France, Italy, Mali, Mexico, Portugal, Russia, Senegal, Serbia, Singapore, Slovenia, South-Africa, Switzerland and Tunisia.


Since 2000, the focus of her curatorial research and practice is on light in fine arts. From 2015 to 2017, she was visiting professor at the University of Fine Arts Saarbrucken and founded the academic network “Light In Fine Arts (LIFA) in tandem with Prof. Daniel Hausig. In 2015, she founded the transdisciplinary format LICHTCAMPUS at the University of Applied Sciences Hamburg, in tandem with Prof. Dr.-Ing. Roland Greule. In 2019, she founded “”, an international, transdisciplinary network and research project with focus on women working with physical light.




Aymen Gharbi. LICHTCAMPUS 2019

Aymen Gharbi (Tunis)

Architect and Curator


Lecture: Contemporary Art - Cultural Heritage – Democratic Culture


The International Light Art Project in Tunis has been developed in and for the Medina of Tunis, a UNESCO World Heritage Site since 1979. With a broad diversity of international artists, we develop site- and context-specific art works that respond to a found site or context or that react to the urban tissue in its present form. We are excited by the way artistic research reflects and intervenes with what is our daily environment. The art interventions function like a window to the past as much as they allow us to reflect on the present and look into the future. The presence of international and diverse approaches allows us to mobilize large collectives of young creatives to produce, to mediate and to discuss what we can see and the way we see it. INTERFERENCE is one of the largest engagements of civil society for contemporary art in public space after the Arab Spring. Its poly-perspective is one of the expressions of the democratic culture we are looking for. 




From 2013 to 2015, Aymen Gharbi worked as an architect at the National Institution of Heritage on cartographing and on conservation of the Medina of Tunis. In 2015, he founded the DOOLESHA project, a collective of urban activists to research and map the interplay of historic settings, ongoing urban developments and the sociocultural tissue of the contemporary Medina. He headed projects like DOORA-FEL-HOUMA what is a sociocultural project to engage young locals in research and mediation of the present changes in the Medina. Presently, he is working on DOOR-WAHDEK, a webzine linking scientific and artistic research, critical review and intellectual debate in an online platform, an app and a series of round tables in the Medina.


In 2016 and 2018, jointly with Bettina Pelz, he directed the International Light Art Project INTERFERENCE in the Medina of Tunis staging a dialogue of contemporary art and cultural heritage. In 2017 and 2019, jointly with Bettina Pelz, he directs the International Media Art Biennial SEE DJERBA in Houmt In 2019, together, they founded the CANDELA MEDIA ART LAB to foster production, display and review of light and media art on the African continent.

Paul Friedlander 01.jpg

Paul Friedlander (UK)

Light Sculptor and Scientific Artist


Lecture: A view in the creative process of Paul Friedlander

”As a small child the first thing on the TV news I truly understood was the launch of sputnik. We saw no flames or fiery launch, just an announcement and the sound of the eerie beep broadcast by the satellite and picked up by Jodrell Bank radio telescope. I was a child of the space age, I became fascinated by space, a dreamer of big dreams, I spent my time building spaceships, I imagined setting off alone to explore the universe. I was lucky, my mother, Yolande, was an artist and my father, F G Friedlander, a mathematician at Cambridge University, they encouraged me to pursue my interests and it was while I was at Sussex University studying physics, I discovered my true calling. It was a visit to a great exhibition of kinetic art at the Hayward Gallery in London that inspired me to switch direction…”


Paul Friedlander is raised in Cambridge on a diet of relativity, cosmology and contemporary art. He studied physics at the Sussex University. It was a visit to a great exhibition of kinetic art at the Hayward Gallery in London that inspired him to switch direction. After completing his physics degree he went on to take another in Fine Art at Exeter College of Art. After graduating for a second time there was a lull as he came to terms with the realisation the art world was not yet receptive to the idea of scientific artists. He took a long detour into stage lighting and stage design. His main area of interest was avant-garde music and this proved a great training and source of inspiration for much of his later work where the emphasis has often been on the creation of large scale and ephemeral site specific installations.

Paul Friedlander’s amazing kinetic sculptures have been fascinating audience all around the world, with exhibitions on four continents, in more then twenty countries. He has been awarded prestigious prizes for his artwork in Japan and USA.