The ship that never passed - Munich 2015
2013 in Munich at the river Isar under the bridge of Raichenbachbrücke an artist from Republic of Macedonia installed a powerful 12 000 watt sound in order to reproduce the sound of a real ship horn. The basic idea of the artist was to initiate an imagination as if a real ship exists or passing by. Choosing a place where there is no water-traffic Spasoski recreates the every day location into something that will stimulate the audienceʼs imagination from an audio sense to a visual picture. This synesthetic influence from one sense to another is the main proposition idea of the artist. It also captures how the other people, which are out of the location focus will be affected by this sound. The film document is the only existing part of this one day act and it is the most convenient impression that can express the art peace. With great humor the film on the other hand is chronologically, showing the development of the project, difficulties that the artist is facing with the society to get permissions from the city offices in Bavaria and the technical aspects that were necessary to build the construction. “The ship that never passed” was also performed in 2012 at the capital of the Republic of Macedonia and it has opened many curatorial questions regarding the historical and political issues of this country.


What are you fed up of ? 2017 This is an art video!
A protest video platform.
I took my Smartphone and as reflection of the actual protests during the summer this year in my land, I went to survey the people in Macedonia to answer me on one single question:
What are they fed up of ?
Colourful Revolution 2016 Music by: "neRed" Dine Doneff double bass, Thanos Sideris bass clar.&Nikos Paraoulakis nay This video trough documented material and sound manipulation shows dynamic atmosphere of buzzing insects that in a metaphorical way relate to the actual Macedonian political situation. Although the whole video material can be seen as a visual sensation, the insects contribute to the transforming of both the meaning and the look of the filmed object.
Namely, the video material is a shot of a lamp illuminating one of the currently built neoclassical build- ings in Skopje. With the new project “Skopje 2014” the Macedonian Government invested great amount of money in building new classical-like buildings and monuments that refer on Macedonian identity. Part of the citizens, think that the government had spent too much public money on unnecessary refabrication of the city. Their dissatisfaction of the Government’s corruption has been recently articulated in everyday protests.
With this video I refer to multilayer meaning of this material that it is a reflection of the present citizens’ discourse that I see it as a buzzing atmosphere of the so called protest “Colourful Revolution”. The protests in Macedonia has developed an action movement that is characterised with paint ball colouring action on all new classical buildings and monuments in Skopje.
From another point of view the Government has reacted with a statement that the citizens movement is distractive and against the national and historical values of the country.
This protest initiated and triggered similar movements in other ex Yugoslavian countries, as a method of protesting without bloodshed.
Additionally, the sound discreetly but with an own sound fx enhances both the dramatisation and the aes- thetic correlation of the visual and audio material .
This video is envisaged to be presented as video installation in space.
Lodge 2012
The video starts with static ans central camera with soft zoom, that shows internal part of a pigeon cage.
The scene is selected that denotes an image of a opera lodge. The life of these birds and their movement in frame of the story is staged with manipulation of a sound. At the begging of the video it is applied sound of orchestra tuning, i.e. "warm up" sfx, with purpose for the picture to be enhanced and to create mental and tactile association that we are in opera lodge.
Further more, the picture and the sound enter into symbiosis and built an abstract lyrical content.
Picture and sound become familiar and dynamic.
I am from Macedonia 2010 is a video art that conveys declarative message followed by demonstrative action by the author as an actor in the video.
This video has social-political connotation, it trivialized the micro problem that grew up in macro political dimension initializing a state from south-east Europe R. Macedonia to change its constitutional name. In this connotation the author demonstrates against political misunderstanding. The author trough video medium platform directed one ironical scene of prison and a prisoner that is punished for his act. This video is by no means an expression of intolerance or hat-riot to any nation. It is a personal, artistic, human and symbolic demonstration against it.
Voyeur 2007/08 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 post-production, 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. Spasoski 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 Spasoski 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.
The elixir of love 2010
It is motivated by emotional recipe of elixir that as a subject or narration the author took it from the famous opera by Doniceti “Elixir of love”.The video presents liquidity as an aesthetics form and at the same time recaptures the emotional framework of picture and sound. In that sense the same visual display in a way is a motion picture of wine as a material and it pays attention of the microscopy as an aesthetics material that creates excellent juncture with musical platform. “Elixir of love” is a totally art demonstration of macro and micro movement of colors in water that are pretty enigmatic as a material.