Art Encounters 1st Edition | Appearance & Essence
What is real is not the external form, but the essence of things. Starting from this truth it is impossible for anyone to express anything essentially real by imitating its exterior surface. Constantin Brâncuși, in Brummer Gallery catalog, New York 1926
The history of visual arts unfolds by the artworks of past times and the actual artistic practice. Artworks are condensed documents of thought, reason and of emotional relation to reality and social surrounding. Art history translates such documents into language and theory against the background of additional historic facts. Since the last decade Western art history is getting rewritten and reformulated. The one-sided narrative of art history based on the Western European and North American allegedly logical development is getting completed and modified by many stories about parallel developments based on the multiplicity of cultural spheres on our planet.
As an important element in the new and global perspective on parallel cultural narratives, also the Eastern part of Europe is getting re-discovered and re-evaluated in its own speed of development, logical relations, cultural references and differences, especially since the fall of the Iron Curtain.“We will focus the 1st Timișoara Art Encounters on artists, who belong in some way to Romanian culture and are having some of their roots in these spheres by reason of birth, language or artistic references. Artists, who are living and working in Romania and abroad. We will employ an archaeological point of view. Looking from outside and searching for the essential elements, also by attempting to make this immanent content visible. Curating means, defining the empty space in an exhibition, the space in between the artworks, the passage from one work to another. This our task, to write content into the void, which can be experienced by the visitor.
Appearance & Essence are the curatorial giudeline for this field study of the Romanian art scene. But we are not looking for some enigmatical national identity, we are looking for the cultural difference, for the individual nuances in the global discourse.”The 1st Timișoara Art Encounters is focussed in such a way on a particular chapter in the multi-layered narrative of contemporary art, the Romanian narrative. The 1st Encounters will look at Romanian art from the 1960ies up to now and will trace back some of the inherent storylines. (Nathalie Hoyos / Rainald Schumacher)
Becoming Connected / Avantpost.ro Project
Curators: Rainald Schumacher & Nathalie Hoyos
Timișoara Memorial of Revolution, 3-31 October, 11:00-19:00
Participants: Aura BĂLĂNESCU, Alexandru BOCA, Cosmin HAIAȘ, Marius JURCA, Livia MATEIAȘ, Liliana MERCIOIU POPA, Sorin ONCU, Renée RENARD, Bogdan TOMȘA, Nicolae VELCIOV
Seven Days in Seven Cities, though it sounds like a creation myth, is in fact a true story about the Revolution which in December 1989 swept away the Romanian dictatorship of Nicolae and Elena Ceausescu. The city and citizens of Timisoara are justifiably proud to have struck the spark that set a whole country ablaze. The Museum of the Revolution is both a site where one can appreciate the events, the anger and courage of those death-defying protesters, and a monument commemorating and mourning the wounded and the dead.
The Museum building itself and its display of documentary photographs and objects are not in the best condition. It is clear that funding must be poor and resources for proper conservation insufficient. The organisation behind the Museum is the Memorial of the Timisoara Revolution Foundation, whose mission is to conduct and support scientific research into the events of the Revolution with the goal of understanding the communist regime and the developments which led to its successful overthrow. The Foundation is also responsible for a number of monuments which commemorate the heroes of the Revolution. The whole Museum breathes the heavy air of a problematical past, of repressed memories and traumatic emotions. Is it a coincidence that it was once the headquarters of the Russian military commander?
This site, which recalls a particular moment in history that some members of Romanian society may not be able to face, not to mention the long and still unresolved shadow of the omnipresent Securitate, is about to become part of an artistic dialogue.
Interventions by artists from the Avantpost group, most of whom live and work in Timisoara, will not change the existing exhibition displays but will try to become connected with these events from the past. Some of the members of the Avantpost group were not even born in 1989. Most of them were children or young adults. This is a difficult and cautious dialogue which attempts to remove the dust of oblivion from the documents. It is a confrontation which may raise many questions without offering prepared answers. Through this addition of a new layer of visual and aesthetic perception, the Museum has the potential to be transformed into something which looks in both directions, both into the past and into the future. But these artists are not the first to have brought their works into the complex situation and controversial issues that surround this dark period in Romanian history. As he looks around the Museum, the visitor will also find works by a number of artists belonging to an older generation. Becoming Connected with the past and with history, painful as it may be, is an essential cornerstone for a democratic and self-confident civil society. The Avantpost group are adding to this development an important and stimulating next level. (Rainald Schumacher / Nathalie Hoyos)
Participants / Artworks
Triology. Light as Information (DNA) I, 2015
Installation (3 stereoscopic representations 140x140 cm, acrylic on canvas,anaglyphic glasses,mirror 80×140 cm)
Triology expresses the transition from binary representation of DNA (double helix, biology) to trinary (triple helix, triology). The synthesis image of mental order obtained stereoscopically emphasizes conciliation of visual representation poles, in extenso, of dual reality which generates rational knowledge under the form of a battlefield between good and evil, light and darkness, right and wrong, us and them. Surpassing duality is confirmed in quantum physics throught the particle complementarity experience which generates photonic quantums, those primal forms of energy capable of memorising and transporting information. Traversing a drama-filled history, the transposition of DNA into explicit reality takes place inside a spatio-temporal visual and auditory matrix, a scale of frequencies more and more dimensionally subtle. Maybe not by chance, the vertical setting of the work resembles an upwards-downwards ladder in both physical and representational levels.
Triology. Light as Information (DNA) II, 2015
Installation (2 stereoscopic representations 150x150 cm, acrylic on canvas, anaglyphic glasses, 2 mirrors 100×150 cm)
In Triology, visual perception is enhanced by combining levels of reality, starting with the physical-material plane (the actual painting) followed by the virtual one of the mirror (by catoptric effect) finally leading to the mental plane, obtained through the stereoscopic synthesis effect (floating image). This time, the position of the DNA strain is horizontal, creating a passage inside which the viewer is integrated as a part of the visual experience continuum, completed by the perpetual repetition of human drama (images from the Revolution).
In Grid, 2012
Installation (audio-video system, wooden structures)
Inside or outside? We are isolating the interior from the exterior or the exterior from the interior by building walls, fences, delimiting borders, placing bars, which we tear down… in order to regain our freedom. In this situation of stressed transcontinental migrations, the open doors and windows slogan of a united Europe is reassessed. This indicates that the limits can never be abolished. Therefore, the grid becomes a likely medium to limit either the inside through self-conscious or the outside through the totalitarianism of various political, financial, cultural systems.
Paralysis. Correlations, 2015
Installation, photo, dimensions variable
The work consists of a series of photographs resulted from observing the urban environment, more precisely from the “paralysis of industry” in capitalist culture. The sudden transition from socialism to capitalism following the Revolution of 1989 represented an act of immersion into a new social and economic dimension. Parallel to this relatively new reality subsists remnants of the Ceausescu dimension through relics and ruins of the past, too great to pass undetected but mute and restricted. Also, the paired dimensions intersect in common points, that is why the work tries correlating of the past with the present by finding mutual characteristics of ideologies which dominate Romania pre/post ’89 while shining light on the consequences of major ideological and economical changes within a country.
The Order of the Day, 2015
Installation, objects from personal collection, metal waste, newspapers, recipients, wooden table, dimensions variable
A scene for the communist working class, a frame of the old Romanian industrial dimension through which the memory of being is represented by a few objects typical of pre ’89 era. Badges and rewards, papers and tools – now they don’t have any use, they are collected for remembrance or reenactment (theoretical not practical) of proletarian society. Formation of individuals, rewarding (limited) and instructing them as equal members of socialist utopical society through work, everything was Lenin’s dream. The preservation of an impossible ideology is, in fact, a process of putrefaction and the sharp metal waste resulted in the numerous plants found in Romania is the most vivid visual memory for those who worked in the metallurgical industry.
Installation, spray paint, nails, other materials, dimensions variable
Sound installation playing the fragment from the last speech of Nicolae Ceausescu during the 1989 revolution, phone, stainless steel
F.E.A.R. installation represents the essence of the relationship between the two entities present in almost all areas populated by totalitarian regimes. First predominantly political entity represented by a totalitarian system, led exclusively by a handful of people brought to power through the brutal intervention of other states (in the case of the entire Eastern Europe – the former USSR); and a second entity, the civil society represented by citizens of the totalitarian state, people whose destinies are controlled (not represented). Fear is present in the soul of each citizen and in the dictator’s mind, it transits the twoonly to increase in intensity until one of the two is eliminated.This moment of fear, triggers the only moment of Ceausescu’s sincerity, moving from treacherous and hypocritical “dear comrades”to impersonal and sincere “hello”; call which can mean anything, either his rescue or condemnation. Fear accumulated in the years of dictatorship, finally turns against puppeteer,his tragic end is accentuated by superimposing over the original meeting soundtrack, the stereotypical automatically generated response when a number is no longer valid: “The number you’ve dialled is not in service”; a reply announcing the end of an unfortunate era.
Ministry of Truth (Where Have You Been Durex? / La Vache Qui Rit / The Bunny Series), 2013
Installation waterjet cut books written by Lenin and Stalin, ceramic figurines, dimensions variable
The multi titled work, Ministry of Truth is humorously approaching the issue of communist lowbrow ideology; books by Lenin and Stalin displayed with kitsch ceramic figurines emphasising through this junction the low expectations, and naive motivations of both authors and their means of governing. Stating bluntly that the world would be a better place without some of ideologies, definitely including stalinism and leninism as disaster ideologies that through ridiculously psychotic ideas have promoted state terror and the so-called dictatorship of the proletariat.
This discourse, placed at the borders between sex, kitsch and communism, formulates an ironic view upon false values and doctrines. Kitsch and communism are both deceptions. One is a false ideology of equality, the other a fake display of some kind of value. The work “Ministry of Truth” is relating in critical humorous comment, sex to communism and kitsch; without necessarily diminishing the cultural, political and historical significance of sex itself.
Dinner Party, 2012
Assemblage, waterjet cut meat cleaver, painted wooden table, fork and knives, 40 x 40 x 50 cm
“Dinner Party” is a snapshot that captures the “therapeutic” moment of vengeance.
Whether it’s removing a leader, a dictator, a personality or an entire ruling class, the crowd will enjoy the fall and disappearance with such intensity that occur only in relations with amazing happenings and unique events. The joy that follows the event will always be marked by a party in which the subject of disdain will be anthropophagous devoured.
In my work, the leader exposed to the public opprobrium is symbolised by a kitchen ax originally designed for chopping meat and which finally gets to be himself chopped and cut by the angry crowd, symbolised here by small knives and kitchen forks.
Architecture Now, 2015
Subliminal Pattern_2015, 2015
Interactive software with sound, 1920 x 1080 px
The software represents a visual fragment of creative randomness, transposed as an alphanumeric code, through a unique cipher called Personal Cipher v. 2010… The cipher is based on the Romanian alphabet being composed of 31 distinctive visual elements (9 digits, 17 numbers and 5 letters). The 31 elements of the cipher were randomly distributed on the virtual surface, by using three different tonal intensities: 20% yellow, 50% yellow and 80% yellow. The Subliminal Pattern contains a number of 4896 interactive elements through which users can randomly or systematically decode the cipher at the acoustic level. Moreover, users can create audible words or messages in the exhibition space. When accessing an element, the generated sound is equivalent in sound intensity with the tonal intensity of the element.
From aesthetic and functional point of view, the software recalls a felling of conditioned liberty, specific to the communist regime. The red background, yellow elements and a dynamic system that captures users’ activity called Users Interaction Archiver (U.I.A.) – placed at the bottom of the pattern – have the role to re-awaken the fear of “inter-action”. The subliminal discomfort is emphasised by the constant surveillance that the user feels, when he sees that his activity is trapped and archived in real time… possible for future analysis.
The signature, placed in the lower right corner, hides the Creation Algorithm (Cr.A.) and the Creative Interval (C.I.) of the Subliminal Pattern. The Creation Algorithm contains instructions regarding the virtual space definition, the chromatic variations of the cipher elements and a series of instructions which triggers the creative randomness. Similarly, the Creative Interval shows informations regarding the number of creative interventions, the tonal intensity of the generated elements and the time interval in which the pattern was created.
Dramatic Enlightenment, 2015
Video screening / 2’45” (loop on IPS screen)
Fractal infinity triggers the mystery of experimenting life between drama and enlightenment.
The work speaks about the dramatic rhythm of an undefined history, of a depersonalized nation, in which the national identity is quite often mistaken by miniature repetition, affected by trauma, by hidden pain and unspoken thoughts.
Because of fear?
Due to the status quo?
A history of fear, tension, cowardice, liberated dramatically by courage, sacrifice and blood.
”Wake up, Romanian, from your deadly sleep…”
Multimedia installation, (wood, soil, book, LCD screen, motion graphics, sound)
The Perpetual project refers to the continuum of rewinding history. It is as if the states of matter are interchangeable and the human being is reduced to the minimum of its existence by witnessing a fragment of time. Being part of the history affects the universe and attracts unexpected flows of matter, which in turn generates unpredictable events. Though from a personal point of view, human interactions affects life, from a cosmic perspective humans are simply part of infinity. Every hero steps out of a drama and every honour rewinds the act of a hero, in between life and death there are Perpetual stars which happen to convert matter into history.
People are invited to live behind objects in the memory of heroes. The objects will be collected by the author, who will create afterwards the Perpetual Museum, as a form of commemoration.
Mix media with LCD monitor – video, diameter 90 cm
CMB acronym for Cosmic Microwave Background encompasses the image and sound of the Universe. The message is transmitted through cosmic interference, reminiscence of the Big Bang. The image does not materialise, the sound doesn’t clarify and runs infinitely, with slight variations in intensity on a background of “dark matter”. In a metaphorical manner it refers to the “harmony of the stars” or “music of the spheres” through which the Pythagoreans theorised the universe as a cumulation of harmony between music and mathematics. The image of the universe was developed by the human consciousness over time. With the advent of advanced technologies to observe the sky, it increasingly embodies complex forms, providing rational explanations, based on concrete observations and unexpected discoveries. Cosmic Microwave Background radiation was discovered in 1964 by Robert Penzias and Arno Wilson, and led to the consolidation of the Big Bang theory.
The Cosmic Microwave Background can be perceived as white noise on the TV screen running without a program. The work reminds us the fact that in the communist era the TV set was usually running without a program or was closed due to the lack of electricity.
Peace Manifesto No.10, 2015
Installation (sphere Ø 70 cm, canvas 150 x 300 cm)
The work is part of a larger project conducted under the generic title “Peace Manifesto”. The project started in 2013 during an art residency in France. So far have been created 10 Manifestos, different in sizes and placed through unannounced performance in the following locations:
- 04. 2013 – Peace Manifesto No.1, Louvre-Lens Museum, Lens, FR.
- 04. 2013 – Peace Manifesto No.2, Historial de la Grande Guerre, Péronne, FR.
- 04. 2013 – Peace Manifesto No.3, La Médiathèque, Méricourt, FR.
- 04. 2013 – Peace Manifesto No.4, North Sea, Dunkerque, FR.
- 04. 2013 – Peace Manifesto No.5, Palais des Beaux Arts, Lille, FR.
- 04. 2013 – Peace Manifesto No.6, LaM (Musée d’art moderne, d’art contemporain et d’art brut), Villeneuve d’Asq, FR.
- 04. 2013 – Peace Manifesto No.7, Centre Culturel Max Pol Fouchet, Méricourt, FR.
- 04. 2013 – Peace Manifesto No.8, Tour Eiffel, Paris, FR.
- 01. 2014 – Peace Manifesto No.9, Calpe Gallery, Timișoara, RO.
- 09. 2015 – Peace Manifesto No.10, Memorial of Revolution, Timișoara, RO.
The main idea of the project is to turn the weapons in the arts, offering spheres or cultural “bombs” which own the potential of establishing creativity an a norm of a desirable reality.
The installation Peace Manifesto No.10 is dedicated to the memory of the 1989 revolutionaries.
Liliana MERCIOIU POPA
Modular installation of wooden frames and elastic cords, dimensions 80x80 x 500 cm / module
(To consolidate, “to strengthen, to make more durable”, where con- is a prefix meaning “together”, contributing to noun formation; solidary – 1. Connected to someone or something with a shared responsibility and interest; 2. Connected, in a construction, to another piece or object.)
By means of the gesture multiplying a spatial construction, by now emblematic for a series of artworks in my portfolio, I wish to make a reference to the notion of abutment, in a symbolic gesture of solidarity/appreciation/support of the efforts made to carry out the project of this museum.
In a symbolic key, the spatially structured module I start from stands for the need to reach a state of balance, to shape up a positive environment, to set, at an individual level, a number of coordinates in the relationship with the outer world.
Liliana MERCIOIU POPA
Shedding Light, 2015
Geometric wooden structures arranged spatially, varying sizes between 150 and 170 cm high and between 180 and 270 cm length
Starting from the projected shadow of a cube (geometric solid that defines a certain perfection), which varies depending on the different directions the light comes from, I want to highlight the degree of subjectivity/distortion that certain points of view have in relation to an essence (or concepts, ideologies in general).
By giving physical consistency to shadows at the level of three structural constructions (achieved by flattening and stretching the cubes until they become bi-dimensional) and by perceiving them simultaneously, I intend to convey how hard it is to capture essence in a certain shape.
This artwork is an attempt to give visual consistency to the fact that what we perceive can only be subjective/distorted. Essence will not have a precise shape, it eludes our eyes and all other organs of perception, and perhaps that is the reason why it does not belong to anybody in particular, but to us all, because it is ingrained in us in the form of aspiration, and each of us has a choice to make whether or not to follow the inner need to find it.
Liliana MERCIOIU POPA
Recent Culture, 2015
Installation of unconventional materials (easel, debris, plants), approximate dimensions 150 x 200 cm
In spoken language, phonemes give words the opportunity to look for their meanings, sometimes revealing surprising analogies and interpretations. This is the case of the word “culture”, which in Romanian has certain meanings when it is pronounced/written correctly – cultură (crystallization over time of all values of the humankind, care for harmonious physical development, crop production), and totally different ones when wrong spelling is employed intentionally, for instance cult ură (cult – exaggerated admiration for someone or something, and ură – hate, strong feeling of hostility).
Noticing the two words within the word cultură and grasping the meanings that can be inferred from the way the words are written or uttered can become a “spark” for reflection for anyone, as it was for me. Umberto Eco said thatmaking war requires culture… Does the phonetic revelation of the word offered by the Romanian language, cult ură, express the truth (despite the fact that it is not justified semantically)? Is the vice versa of Eco’s words valid – does making culture require war? Or is this just an erroneous understanding due to flawed “pronunciation”?
The Wall, 2015
Installation, 500 EU aid flour bags, dimensions variable
The wallmade out of empty FEAD (The Fund for European Aid to the Most Deprived) flour bags, destined to provide part of the basic meal to people across Europe who cannot afford it, is addressing the issues of marginalisation through charityand aid as business. Officially through FEAD, EU seeks proud-spirited to“bring people in from the margins of society”while in practice occasionally this short term visit from the margins is a cover up for a profitable business of those in the centre. A striking example of how you can impoverish the poor by enriching the rich, while promoting democratic equality, insuring rights that have less and less factual significance. This comparative inequality, the lines of some people waiting for their EU mercy aid, carries a resemblance with food rationing during the communist regime of 1980s Romaniawhen absolute equality was insured by making everyone equally poor. For those that remained in line, the distinction between present comparative inequality and past absolute equality, bears too little weight, while this fenced solidarityof the EU aid industry builds an insurmountable wall of dependency.
The Testament, 2015
Object, office ring binder, A4 sheets, plastic sheet protector, 32 x 29 x 8 cm
The object, an office ring binder containing printed texts of the different EU poverty reports along with images of five sliced loaves of bread and two EU aid cans of fish, formulates a critique on the politically profitable interest for the poor. The content of the reports, regardless of its statistical accuracy or solution development, vividly depicts only a heavily bureaucratic system serving at the end an exclusively political pursuit. This politically profitable charity, held with limited but complicated EU logistic implication, since national authorities unfold the aid delivery, adding layers of bureaucracy to an already heavily bureaucratic system, leads to a different kind of exclusion. The images with slices of bread and the two fish cans referring to The Feeding of the 5,000 are relating specifically to The Gospel According to John and to a depiction of a more manipulative Jesus. Wrapped in EU poverty report texts, the images relate to the same kind of political aspiration, in both cases the need of those in need is used to satisfy an electoral interest. Succinctly stating that feeding of the deprived is articulated action of a political interest and not the pursuit of long term improvement of standard of life for those in question.
The Wind, 2015
Installation, mechanical fan, Bible, 12 yellow plexiglass stars, a jar of honey, a bottle of milk, human rights printed paper boats, tray with water, 90 x 30 x 80 cm
The Wind is a work that relies on symbolically exhibiting the Promised Land (the jar of honey and the bottle of milk) behind the dangers which refugees face when traveling in search of a better life or in an effort to save their lives. A benign wind for European indifference is in fact for does that have to flee their homelands, a storm treating their lives. The Christian Europe sees in their effort a danger, while immigrants themselves are conscious of the danger this effort entails, they are ready to face it since the danger of not facing it is far greater. It is the same reason that motivated east Europeans to face the fences of tyranny in the past. It is simple to forget those left outside the fence once we are inside, included in this EU family, becoming more and more obsessed with protecting this precious promised land and denying it to others. It states that the Christian maxim “all men are brothers” means also that those that are not my brothers are not men.
Object, Bible, 15 x 10 x 4 cm
Impersonally titled “Book”, the work containing a bible placed between the two portraits of Nicolae Ceaușescu is referring to potentially any little read book and the aspiration of a dictator to become God, a self-proclaimed atheist with religious-political design. A discreet space intervention in the museum premises, placing a Bible between the two portraits of the dictator formulates an ambiguous message. On one hand, it can speak critically of the persecution of religion in communist countries, or of the ties between the Romanian Orthodox Church and the Communist Regime, on the other hand, it can formulate a different kind of interpretation, tying teachings of Jesus Christ withcommunism as the ideal social system.
And the Sky Will Always Be Blue, 2015
Site-specific photo-installation, dimensions variable
I am a child of a family strongly affected by the social and political changes in Romania after WW2. My great-grandparents were deported to the Baragan, my maternal grandfather was deported to Russia, my paternal grandfather took his life in a Russian labor camp, my father was sentenced to hard-labor at the Danube-Black Sea Canal, my mother was expelled from University. I have thoughts and worries regarding a possible historic recurrence and that the theory of ancestral “invisible loyalty” owed to previous generations may indeed predispose us to unwittingly re-enact their suffering and unfinished business in our own life events (Anne Ancelin Schützenberger – “The Ancestor Syndrome”).
The project intends to integrate the human micro-universe and micro-history into the macro-universe and macro-history and put it into a larger, more detached perspective. Macro-systems (in this case images of the sky) continue functioning, no matter if war or peace, victory or loss, life or death. The multiplication of the images of the sky creates “patterns of good things” (in contrast to historic recurrences of “bad things”) and could also become my own “transgenerational therapy”, easing the burden of being “the generation of postmemory” (Marianne Hirsch).
Old Folders, 2015
Installation, cardboard, 100x100x70cm
The installation represents an archive for the martyrs of the Revolution started in Timisoara in 1989 whose names are inscribed within each folder. The work can be perceived in two different ways: for those who directly witnessed the events of December 1989 the pyramid is a monument of the Revolution, and for post ’89 generations it represents the archive of an event from history.
New Folder, 2015
Object, oil on canvas, children drawings made immediately after the Romanian Revolution of 1989 borrowed by the Revolution Memorial Timisoara, cardboard, acrylic, dimensions variable
“New Folder” acts directly on museum object formulating a new meaning assigned to the used document without inflicting any alteration to its dramatic value. The object consists of a painting representing a folder paired with an actual folder containing children’s drawings made immediately after the 1989 Revolution. The work is a parallax which places the 1989 Revolution in this intersection between the experience of those who were in their childhood during the revolution, for whom this is a flashbulb memory, and mature documentation of the event in question by someone who sees it as an object of study, part of the collective memory. Revolution representation in this case is an intersection of two paths. One is formed from the adult towards the document represented two-dimensionally by the painting symbolising the collective memory of the present, while the other is formed from the children, the authors of the drawings, towards the record of the 1989 dramatic events, placed in a folder, a three-dimensional object of disturbing childhood recollections
Regeneration Through Nature, 2015
Painting-object-installation (oil on canvas 250x105cm, cocoon formed by tree branches 300x105x60cm, semi-transparent character made of polyester resin, spotlight)
The work underlines the persistence of the relationship between man and nature, unconcerned by the drama of the human species. An explication would be the fact that at their core, both have the same energy source, human cells metabolising light the same way that plants do in the process of photosynthesis. From this, man and nature present equal factors within a perpetual regeneration (transition from horizontal/cocoon man to vertical man, painting). By extension, the whole species if morphogenetically organised into a network which forms a global entity. Humanity resembles a biological internet which binds all human beings (the projection of the shadow network on the wall unites the work with the context of the Revolution).
Looking after nature, man is practically taking care of his own future.
Installation, mirrors, laptop, 160 x 160 cm, privileged viewpoint 10 m
The latin term Oculus, meaning the eye and invariably one subhuman eye, opposed to binocular perception and victim of the limited view of depth, speaks about those in control of absolute power. The work refers to a mechanical understanding of its own illusory perfection, a perceived reflection of a harmonious system from a singular point of view. Similarly to totalitarian regimes vision, this perception of delusional perfection, seen and accessible only to those found in the right spot, to the privileged that is unaware in its ignorance of other points of view, is dependent of the one position that offers its symmetrical harmony. This position, the perfect location to observe the symmetry of the system, the colourful reflections, argues that those found in absolute control, the dictator and his henchmen are incapable of abandoning the only location their practice appears flawless.