In the name of the extended death-from the saint, with love (2018)
Goce Nanevski exhibits a two-part installation composed of an object titled In the name of extended death - from the saint, with love and the video piece We celebrate the room. The disposition of the two key elements in this intriguing kinetic installation focuses on the contrast of the cyclic motion of the automobile wheel of the machine structure and the representation of the parallel linear movement of the aircraft in the static frame, enclosed in a loop.
The video shows two planes that fly in parallel. They are slowly entering the frame, fly over and out of it, creating a situation in which the observing subject is left with a sense of becoming aware of herself staying anchored in
place, devoid of the possibility of a dramatic change, but looking up “in glory” of something that is indefinable. In order to emphasize that, contrary to the real situation, the passenger jets in the video are being video-edited to fly parallel in tandem, but diagonally, complicating the perception and the relevance of the comparative parameters
that define what is ahead and what is left behind, between progressing and lagging.
In this project, in a specific way, Goce Nanevski builds on his interest in constructing, kineticism, movement and momentum2, and part of the installation is the development of sequences of the video with the working title “Run Baby Run”.3 In addition, Nanevski’s work within the exhibition functions as a line of distinction in a spatial sense: the structure that rises diagonally, literally breaks out of it, and an important element that suggests division/separation in the melancholic anticipation and the tension to make a breakthrough is a chair that is divided into two parts.
Nanevski integrates the architecture of the gallery space, setting the key elements in a relationship that is antagonistic, between the static and the dynamic (the pillar versus the wheel / screen versus the moving image), not only literally and formally, but also metaphorically referring to a wider range of meanings. In the broadest sense time stopped, this work by Nanevski is conceived as a “monument to the heroes of the time stopped”.
Vladimir Janchevski, curator