CONCEPT

Immortality, sustaining the future the present the past, is the second part of the trilogy of projects, which have started in 2007. The first project, The Lost Moment, has been realised in Berlin with four outcomes: a group exhibition, sessions, film excursions and a book. Immortality has three components, a group exhibition, a film event and a talk. The third part of the trilogy will be on the concept of surfaces.

Immortality is often associated either with the soul, as that which is everlasting, or with the human body that decays in nature for all eternity after the death of its ‘subject’. This project deals with neither.
The immortality of the mind is composed through continuous production of the subjective truths. It is sustained through experiencing of participation in social domains, which unfolds being effective on and under influence of things, realisation of understandings and frameworks. The real is constructed through gathering of subjective truths in a collective consciousness.
‘Everyday’ hosts continuous production of definitions on how to relate to the other in various circumstances: work-related, friendship-related, and casual encounters. The patterns of repetition mostly designate the content of the interactions. That is to say, the way people are exercised in thinking, in being in the doing and making things effect how they connect themselves to the others and to their surrounding.

Today, we can talk about the normalisation of production because of the existence of a tendency to single out the variety of subjective truths. In other words, we can talk about tendencies of rigid control and a priori acceptances in the contemporary society of today. The aspects of ideology and fanaticism in relation to social discourses gain importance. In other words, the subjective truths are becoming around certain strong commonalities of understanding the world around us. It is the clash that fanaticism of any sort, resulting in segregation of ideas, societies and living.

The project looks on the definitions of ‘everyday’: How the everyday is influenced by fixed and enduring ideas. And how societies use these to create the rationale of their own existence. The exhibition displays the aesthetics of sustaining immortality, whereas the talk contextualises its relation to current socio-political states, or the film event is a bridging of a fantasy with real.

The project is not a mapping of patterns that are tooled in the acts of sustaining the time trilogy: past, present, future; but a gathering of statements, observations, and proposals on various levels. It is looking at the existing, planned, fictionalised factuality of social discourse. It aims to draw attention to the claims over the future, the present, the past. In other words, how future, present and past are being reproduced under the light of mainstreaming projections and their related social encounters.