It’s for the first time when a stage of the HUMAN Project can be followed step by step, without omitting any element. This was possible due to the new LABORNA Gallery, whose concept is to display within a given time the entire artistic production. A kind of microscopic dissection takes place, and one can attend it directly, at each opening of the MARKS, a monthly event permitting free access to the public.
My room in the gallery became the environment of this stage. The 5 geometrical-humanoid aquariums are the recipients in which the post-human / post-traumatic culture is developing. I studied, decrypted and used concomitantly fragments from the transmission received on the room wall in the previous stage.
We are facing two parallel worlds. The first one, being old, has hidden roots and traditions which contribute to its triaxial perpetuation. The second world, being new, in full creation, claims for certain elements from the preceding world.
The architecture of the first world is axonometrically projected on the OX, OY and OZ axes, and each of these three directions is identified by a personalised element:
– OX, the male axis, is defined by the element stone;
– OY, the female axis, is defined by the element fur / hair;
– OZ, the beastly / animalic axis, is defined by the element bone.
The second culture, the post-human / post-traumatic one, which is still in the making, is achieved through successive processes. The aquariums were gradually filled with ground, further cleaned by the leather-rack machinery. The working little men from the OX axis planted three species of seeds with high calcium contents: poppy, sesame and kia. In the aquariums, the calcium salts generated linear and circular waves. As the post-human / post-traumatic culture develops a theory of vibrations, we brought those who were able to absorb trepidations. The plane passing above the aquariums spread the ash-makers (self-combustion elements grown in special trees living in the planes), the scattered ashes was absorbed a.s.o.
The developing processes, notes included, will be recorded in the forthcoming materials. The above information is minimal, it just summarises the definition of a living process. The artefacts of the OX–OY–OZ ancestral system (the marble ritualic hammers, the worn-out saw blades bearing drawn sheaths) were recovered and analysed. Some of the messages transmitted in the 2012 stage were decrypted; an example could be: “Make a door from the ashes / And make ashes from the door.” Its deconstruction revealed a world in itself – the quarry in which the ashes gathered from the three axes, man–woman–beast, etc., were mixed up. The research, achieved through analytical drawings, was presented for the time being.
The eighth stage of the Project must be mainly approached from a research perspective. The oppressive visual affirmations in the premise HOMAGE TO HELPLESSNESS claim for an Institute of Corrective Researches.
The process exceeds the efforts.
The exhibition was displayed at LABORNA Gallery, Bucharest, Romania.
The HUMAN Project
October 1, 2020