Kiro Urdin

Kiro’s work has evolved beyond traditional media like film and paintings to include dance, sculpture, literature, photography, philosophy & design. Kiro published 15 books and others with aphorisms, one of poetry ‘Novel’.He has been driven in his efforts to bridge different cultures together & bring all Art forms into one which brought the slogan of Planetarism movement: “One Point everywhere, everything in one point. One Art everywhere, everything in one Art”. 

French-Macedonian visual, multimedia artist & film director. Founder of the Planetarism movement, who represented France at the French Festival in Taipei. His ballet & film ‘Planetarium’ were performed at the United Nations 60th Anniversary.

Graduated from Belgrade University Law School in 1969, worked 1971-73 as a journalist. He is also a member of the Macedonian Academy of Sciences & Arts.

Having moved to Paris in 1973, he then had to make a living out of his paintings which decided him to make paintings his life. He is a member of the Academy of Arts Plastiques in Paris & in 1977 he became the director from the Paris Film School. From 1982 he performed important exhibitions  in France, USA, Japan, Switzerland, Sweden, Mexico, Belgium, Puerto Rico, Philippines, Taiwan. His art is part of prestigious museum collections all over the world.




by Corinne Timsit

Kiro has such a need of freedom that he desires constantly to get away from the painting magnetism and escape towards physically palpable regions, in order to touch them up with his camera and to dip his pictorial cosmic universe in the accessible lands of ethnos groups, and of the nature’s, which our planet abounds.

Kiro traveled all over the world with a canvas of 48 m2, Planetarium, and accomplished the painting inspired by various cultures encountered along his journey, from the most emblematic place to the most eccentric. The film Planetarium, a witness of the epic adventure, inspired the choreographer Debbie Wilson to create a performance.

His transcription from film to painting and painting to film is a transcendence of the visual movement connected to matter and color, to rewrite reality, to re-establish the reference symbols of our everyday life, to propose them lacking in taboo and sectarian references.

The work of Kiro reached a gasp between the breakout of the painting and the testimony of the camera, which tirelessly questions himself on his intrinsic version of the Creation. Life sits in his work lit up by emotions creating chaos, which facilitates him to fit into the resonance of higher spas.