The artistic path of Igor Simić, initially only focusing on video, over time came to include a wide range of media, with the artist experimenting with photography, 3D-printed sculptures, music, writing of essays, articles, painting, as well as creating video games as part of the activity of his Demagog Studio transmedia company. The artist’s main line of research in the field of moving image goes together with his interest in contemporary culture and politics in a broad sense, and with an attention to the social dynamics of the dystopian technological era, involving surveillance systems and post-apocalyptic visions. From the illusions of advertising to the chimeras of the medicine of the future, from the fantasies of dating sites to the hypnotic language of algorithms, the world of today and tomorrow is probed by Simić with a gaze that is both direct and hallucinated, capable of highlighting unexpected perspectives and landscapes. This approach is exemplified by the two works exhibited at the 58th October Salon. In the video Melancholic Drone (2015) a surveillance drone reflects on its own existence, flying over the city of Belgrade and following an unplanned trajectory. The drone, a humanized technological character, seems almost bored by its own functionality, a subtly ironic allusion to a theme that worries and fascinates the scientific community and certain movie productions: the possibility of a digital conscience. The series Radio Nostalgia from Mars (2018) is a sophisticated animation that describes a post-catastrophic landscape, among the ruins of an Earth destroyed by an ecological disaster and a possible life on Mars, the preserve of a small percentage of wealthy earthlings. Using the narrative and aesthetic codes of the animated short film, the work reflects with disenchantment on the economic inequalities and devastating outcomes of a possible future.