The HUMAN Project
To envisage a project which is planed to develop (in steps) over a very long period of time, a period which is longer than the normal lifespan of any human being (even that of an artist), is a risky enterprise. But, it is precisely this risk that raises exponentially the premises not only for a spectacular result, but for a consistent conceptual result.
“HUMAN” is, thus, a project that can be developed on two levels. The first level can constitute itself as a multiple premise, argued through several visual demonstrations (24 exhibitions), entitled HOMAGE TO POWERLESSNESS. The second level is reserved for the conclusion, which through the form of the demonstration itself, is purely utopist. The utopia of the conclusion presupposes the construction of a human correction unit entitled OMODROME.
From the 24 premise-exhibitions, three have already been exhibited in some galleries, and these are (in chronological order): 1. HUMAN (2000); 2. DECAY (2002); 3. NIL MEDIVM EST “There is no golden mean” (2004). The primary goal of the visual intermittent signals, which form the premise of the project, is to perpetuate the feeling of alert as well as the intensification of the feeling of uncertainty both at the individual and at the collective level. To state and assume completely human powerlessness with the easiness and typical ease of the damned collectivities, proves to be the critical threshold between definitive dissolution and a predictable undissimulated revival.
The construction of the OMODROME, the utopist conclusion, is given the dimension of the primordial promise of salvation. This edifice of a huge complexity will be “achieved” with the scientific and technological help of the Institute for Corrective Research (I.C.C.). The result of the equation preserves its non-functionality (and its utopist character) through the deliberate omission from the construction plan of some key elements, in the absence of which the corrective unit either remains a miraculous promise, or functions within the wrong parameters (proving its uselessness).
The project presupposes from the beginning a completely assumed existentialist irony, without which it would be rated as an absurd simulation.