Zoran Todorović was born in 1965 in Belgrade, Serbia. In his works, the deals with the topics of contemporary information culture, surveillance, biopolitical management and control by uncovering unconvenient truths and hidden motivations. In his works he takes on the established limits of participation, ethical and aesthetical standards.
His works can be classified in three groups. Those in the first one use physical and chemical laws through which he created a possible physical uncomfort, such as in the work „Laughter“ (2001), when he filled the air with nitric oxide (laughing gas). In the second group are the works which use models of management, discipline and surveillance control as the mechanisms of the functioning of power, as in „Hush“ (1998 – 99) or „Gypsies and Dogs“ (2007). Works from the third group are about the body and its waste material. In the work „Agalma“ (2004) the participants washed themselves with soap made of fat removed from the artist's body in surgery.
Todorović participated on the 53rd Venice Biennial with the project „Warmth“. For that, he gather hair in hair salons for months. The end result of the process, which was fully documented, was a sort of DNA map of the „Serbian nation“. The industrially-made carpet which was created was installed in the Serbian Pavillion as a utilitarian object. One of the predecesor of the Biennial work is „Assimilation“ (1998 – 2009), in which he made plastic surgery waste into food which he offered to the public.
Todorović is one of the founders of the New Media Department on the Faculty of Arts at the Art University in Belgrade, where he teaches „Transmedia Research“.