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Special Mention

Zoran Naskovski

Untitled 2/2 IQ Test, Color, Stereo, Serbia, 2022

Zoran Naskovski is a media artist. His work comprises a wide range of media such as video, film, installation, performance, sound and internet projects. Naskovskis works have been exhibited both on the Serbian art scene and at international exhibitions in institutions and museums such as the Whitney Museum in New York, the Andy Warhol Museum in Pittsburgh, the Wexner Center in Ohio, the Berkeley Art Museum / Pacific Film Archive in Berkeley, Tate Britain in London, Center Georges Pompidou in Paris, nbk (Neuer Berliner Kunstverein) in Berlin, Fridericianum Kassel in Kassel, MACRO Museum in Rome, Kunsthalle Wien in Vienna etc; as well as at media festivals such as Transmediale, Berlin, DEAF-Dutch Electronic Art Festival – V2_Lab for the Unstable Media, Rotterdam, Impact Festival, Utrecht, WRO Media Art Biennale, Wroclaw, Instants Video Festival, Marseille, Dallas Video Festival, Dallas (TX).

In 2007, he participated in the central exhibition of the 52nd Biennale in Venice Think with the Senses – Feel with the Mind. Art in the Present Tense ”.

Video instalation Untitled 2/2 IQ Test  is based on the confrontation of two events with the same ideas, which emit completely different vibrations and make you think about the similar situations from any other social reality and from any other time, especially the present. The videos that are juxtaposed yet viewed in the same visual line, fragmented yet connected, are of two events both set in the late 60s, that have positive and emancipated ideas of counter-culture. The footage is projected from a video beam passed through a bundle of lines of wool tapes and shows a performance of Indian musician Ravi Shankar on Monterey pop festival in 1967, which is one of the best filmed public events in outdoor audience interaction. The other two juxtaposed videos are day and night footage of rock musician performing at the infamous Altamont festival 1969, where the ‘Hells Angels’ are taking the role of controler at the festival and thanks to them and their destructive behavior, unforeseen and unprecedenten violence escalates. The absence of organised and global anti-war movements today, among generations merged and networked by digital technolgies, raises the question – whether exposing the mechanisms of violence is one of the leading tasks of new methods of political resistance, in a time of increasing divisions, global conflicts, wars and nuclear threats.