The fifth stage of the HUMAN Project introduces a new syntagm: “PreTraumatic Area”. The two parts of this stage, displayed at seven days distance (the time any “consecrated” creation requires), highlighted the implacable side of human helplessness the way it could be seen from the perspectives of the executed, of the executor and of the pseudo-salvation.

The first display, Compelle interare! (“Compel Them to Enter!”), is an imperative addressed to me masses, to the inert groups of individuals for whom summing-up one’s own sound experiences is but an indefinite, unassumed, impotent and implacable whole. In whatever point (space cell) of the visual discourse he was placed, the upholder had to be aware of the incapacity (of the reflection) of the executed to react against his own destiny. The route became rather intuitive, the consequence of a déjà-vu. Help could have come from the “chromatic hierarchy” the author had achieved. As the process was not minutely designed, he who got over the display had to consider his own image an ideal insinuating vehicle within the series of condemned little men. The option “I don’t want” turns into a standard which governs man’s existence. Hence one’s need to assume the role of a possible “chosen” man, or to conceive the redeeming character able to take him out of the closed circuit of helplessness.

The second display, “Do You Need a Hero?”, was thought as a redoubt in front of collapse, levelling and degradation. The answer to the question proves atemporal, as it has no finality. The hero turns from a redeeming promise into a threatening. Hope becomes a negative concept when one has to accept his own helplessness, but, once adapted, he discovers its positive and generative valences. “The assault” made by human conscience begets an inflation of pseudo-heroes, of “moralizing” marks, who live insipid lives, determined by superficiality. To nourish one’s hope in salvation looks like a springboard placed at great distance from the existential ideals of the human concept. Irony reaches apogee the moment the “hero”, due to his multiple identity, behaves in his “saving” actions multiplicitously, without any discernment. 

The exhibition was displayed at Pavel Șușară Galleries, Bucharest, Romania.