Trippy Seeing / Is This How Ecstasy Was Built

Starting with images’ distribution principle from Mnemosyne Atlas (Aby Warburg) the postartist summarises a deposit of typographic images prepared in the ‘80s in order to fill the panels from the fabrics and schools with illustrations through which an (a)ddressable common sense of the exemplary-citizen has been educated: from the heavy Romanian industry accomplishments to sprays, fridges and new restaurants to the horrible of Romanian painting in all of it’s splendour, to views and national costumes, passing through the snow’s addling white and brancusian art that would anaesthetise the veritable political sense.
The hallucinating proximity of these images in the typographic halls of the montage, on the same sheet, draws an aesthetification from up to down of the political act of publishing, proven as an acceptable common taste, exportable for the people.
The set is being completed by a series of found photographies, exposing the practice of students’ agricultural works, embrocated, after the ’90, with the post-revolutionary students’ commentaries as BD, in a dada-ironic-subversive manner and repositioning, on the photographic support, subjects of a society during transition and capitalization.
A mediocre novel’s cover was closing the spectral trajectory of this image gliding (the precipice principle) to an (un) desirable ecstasy.