Photography is increasingly gaining supremacy as a medium for visual expression in artistic practices, as an expanded field for visual conceptualizing of reality. In his photographic project “Dawn at Sunset – Post-apocalyptic Odor of Transition”, Saso Dimoski is showing the current phenomena of contemporary social and political reality, of past systems and the consequent transition processes. The topic of his exhibition is the Izgrev (Dawn) Hotel, built on the shore of Ohrid Lake, within the compound of Kalista locality, which is, at the moment of writing, abandoned and deconstructed. Photographing the current state of this, once attractive and grandiose building, built during the socialist era, he uses the features of documentary photography to depict the factual devastated state of the building, additionally exhibiting a marketing flyer for Izgrev hotel and an album with photographs from the hotel’s opening, redefining through this the semantics of documentary photography and the work of art itself, which is transitioning into conceptual socially engaged discourse.
For DImoski, photography is an instrument of higher perspective over the artistic structure and is a part of the research and engaged art photography, where photography is redefined in its basic meaning. With visual and mental connections from history, he abandons the classical aims that describe perception outside of the initial one, relating a new, moving reading of the history of a building. Documenting the deconstructed facility, emphasis is placed n the geometric architectonic structures that create abstract forms, where photographic skill, through the play of light and shade enhances the effect of the experience in its extremes and, through photographs, it has the ability of evoking the history of the space. The images of architecture present scenes of an echo of a sequence of events that led to the current moment. The photographs, although they could be classified as documentary, still, through their “subjective realism” in framing bring a new aura to their meaning and expression. Placing the photographs into gilded baroque frames, the author accentuates the historical moment of their mass use in framing tapestries and kitsch contents from the socialist times, emphasizing the kitsch of living and false greats and successes of the past system and the very political and economic transition that we still live in.
In this work, Saso Dimoski uses photographs not as aesthetic experiment, but as a practical means to reflect the reality of a more complex socially engaged work. His photographs have a dual function, they are historical documents, and, at the same time, they are systematic recordings of architecture as a reflection of the past and of the current times. They visualize the objective evidence of the consequences of contemporary life and its initiators of critical re-shaping in Macedonia.

Goranco Gjorgjievski

Born in 1965. Works with photography and computer graphics. He worked at the Macedonian Television and wrote for the cultural pages of “Utrinski vesnik” and “Globus”. He has also cooperated with the first electronic magazine for culture in Macedonia – “Blesok”. Since 2007 he has been working as a photographer on archaeological research. At the moment he is an associate researcher at the Regional Centre for Digitalization of Cultural Heritage.