Microreview: Public Secrets – Knowledge under Censorship

Simone Review 1 Ausstellungsansicht 1
Ausstellungsansicht Retrospektive „Public secrets“ von Zoran Naskovski 1. Floor Museum of Contemporary Art, Belgrad 2023 / © Simone Etter
Simone Review 2 Ausstellungssituation
Ausstellungsansicht Retrospektive „Public secrets“ von Zoran Naskovski 1. Floor Museum of Contemporary Art, Belgrad 2023 / © Simone Etter
Simone Review 3 Detail Zoran Naskovski
Ausstellungsansicht Retrospektive „Public secrets“ von Zoran Naskovski 1. Floor Museum of Contemporary Art, Belgrad 2023 / © Simone Etter
Simone Review 4 Bildschirmfoto Visdeostill Etter Min18
Video Still / © Simone Etter
Simone Review 5 Bildschirmfoto Etter Videostill Min 2
Video Still / © Simone Etter
Simone Review 6 Msub Zgrada
Museum of Contemporary Art, Belgrad Nicknamed: “crystal at the confluence” / Source: https://msub.org.rs/zgrada-muzeja-savremene-umetnosti-2/?lang=en / last accessed: 2.1.24
Simone Review 7 Muzej Savremene Umetnosti 3
The museum was closed for renovation between 2007 and 2017 / Source: https://msub.org.rs/zgrada-muzeja-savremene-umetnosti-2/?lang=en / last accessed: 2.1.24
Date
2024 January
Subtitle
Simone Etter reviews Zoran Naskovski – Public Secrets, retrospective at the Museum of Contemporary Art Belgrad, Serbia (19.10.23 – 26.02.24)
Type
microreview
Author / Publisher
Simone Etter for NewsLibrary
Author Info

Simone Etter is Initiator of the artists' collective "künstlerinnenkollektiv marsie". Etter has taught in the field of walk research, experimental space examinations and humanity art in public. She lives where her art projects develop: Until May 2024 in Zürich with "The marsie - space for collective art practice" and currently in Belgrad with "Hotel marsie".

Language

English

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Reviewed Publication

Zoran Naskovski – Public Secrets, retrospective at the Museum of Contemporary Art Belgrad, Serbia (19.10.23 – 26.02.24)

Since the Serbian parliamentary and local elections on December 17, the noise of whistles and brightly colored plastic trumpets has been drifting down my street every evening. I receive links from the Swiss press back home about "riots", while here the largely state-controlled media of the Alexander Vucic government summon "interference from abroad". It’s an unfortunate fact that the misuse of images’ power for propaganda, slanting historiographies, and even justifying wars, has historical tradition. Since the 1990s, such targeted media manipulation has been an essential topos of the work of contemporary Serbian artist Zoran Naskovski. His retrospective entitled Public Secrets is currently on show at the Museum of Contemporary Art in Belgrade.

Especially in his long-term research work and document archive Mandala i Krst – Beyond the Visible 2015-2021, in which he archives daily press and examines it in its different contexts, parallelisms and media’s narcotizing dysfunction become particularly clear. Personalized image representation, digital surveillance and the misunderstandings that arise from this are phenomena that Naskovski critically stages in his more recent video works. It is knowledge and its generation that seem to drive Zoran Naskovski’s artistic, exploratory work, and the relevance of which becomes visible on the streets of Belgrade.