Cultural Diaphragm - A Brief History of Amoebicity, 2020
Goce Nanevski elaborates his trauma condition with a performative act of destroying a replica of his work, as an act of criticizing the social status of art, ethical and moral malformations in the cultural stratosphere that together with the catastrophic educational system created an incredible regression in the position of the culture in our society. Supporting the hypothesis of Georgi Gospodinov, as authoritative and essential, that "culture is part of the national security of a country", Nanevski counterpoints the 'parading' character of the culture in our country with a critical-cynical performative approach, brought to such a dystopian position, partly due to the attitude of the government, but even more so, due to the servile attitude of many institutions, cultural workers and activists. The simulacrum of his work is exposed on a pedestal and illuminated with special lighting. The ritual is approached by two workers who take the work and carry it to its destroyer, a metal crushing machine, where it is compressed to the smallest possible dimensions. During the destructive process, a solo vocal improvisation is performed by a professional singer, which gives a special ceremonial sound to the whole event. The process is led by a conductor who directs the performance, and the conductor in the transient sense is each of us.