„Voyeur“, 2007/08 Video, 05 min, Dv Pal The quintessence of Aleksandar Spasoski’s work „VOYEUR“ is not a mere reporting, but the intuitive experience of a voyeur. His installation - a harmonic interplay of production and postproduction, emphasized by acoustic elements and original compositions, enables the viewer to assume the role of a voyeur. We receive impressions of unfamiliar scenes, unhurriedly changing, almost strolling, at the steady pace of a pedestrian, whose echo of steps becomes our own. Spasosky makes use of existent film material and increases its effect by adding his own sequences and re-composing them anew. Out of his personal experience, he thereby shows scenes of someone wandering the nightly streets of alien cities and gazing into stranger’s windows, into stranger’s lives. The phenomenal quiet and solitude recalls the ambiance as created by works of Doug Aitken. Both Aitken and Spasosky deal with homelessness, the alien and transitory, and neither of them offers a solution, there’s no beginning, no end. Correspondingly, the artist makes use of his own compositions, which, despite being contemporary, exhibit impressionist traits. The conjunction and composition of visual and acoustic elements generate a balance with emphasis neither on telling a story, nor scoring a film, nor the simultaneity of both. The sequences shown offer a broad spectrum of potential stories, but the scenes are presented as extracts and then fade out. The viewer does not receive a defined context, but a potpourri of impressions. Both acoustic effects, steps and film score, create a simultaneous effect before the viewer actually perceives the plot. Perception and cognition of the audience are influenced before they comprehend the meaning. The artist therefore creates a high level of subjective sensation in which his work’s value is reinforced. However, his video installation does not present or discuss impressions and stories, but leaves the stories untold, stories we don’t experience or live, but watch. Art succeeds in portraying the visible as well as the invisible – in this sense, VOYEUR succeeds.
