Voyeur 2008
„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.