The subject matter revolves around death and dying. However, selected works do not pertain explicitly to those matters; they focus rather on the motif of inertial movement – rhythm being a peculiar metaphor of life – but consequently also on the interconnections highlighting the tension between ethics and aesthetics, between content and formal aspects. The exhibition is interested in death in its material aspect – understood as necessary part of human condition – deprived of pathos and sentimentalism, big word and classical toposes, which the current discourse of modernity conceals and systematically excludes from the main narrative.
In the era of the end of history, and accordingly the end of mankind, as Milan Kundera wrote ”the ultimate brutal confrontation is not with a society, with a state, with a politics, but with the physiological materiality of man.” To this materiality and its extinction refer the actual topic and concept of the exhibition, which exposes oscillation between subjectivity and objectivity, and simultaneously plays with the borderline, where one overlaps the other to the point they become impossible to distinguish.
The creation of this project was inspired by Jean’s Baudrillard’s Symbolic Exchange and Death, where dying is reflected from the perspective of materialistic rationalism ingrained in political and economical modern strategies. Baudrillard defines life as process of accumulation and death as due payment. He notes the exclusion of death and the attempt to separate it from life is inherently a fantasy, condemning the entire plan to failure. Paradoxically, the desire to exclude death by an accumulating life – as a positive value – is strictly connected to a participation in the “equivalent production of death” and brings to “this absolute uniqueness of time, which is death”.
Individual works will be installed in a way to reflect this mechanism, to mirror the instinctive need of an accumulative life, for which, in the face of the decline of symbolic ideas postponing or excluding dying, death has become a real object of desire. The exhibition dramaturgy shows the contrast between the “heaviness” of recorded reality and its neighbouring “lighter”, ironically tinged reflections over form and associations linked with evanescence, but also stresses the game of two Freudian instincts, pointing death as the ultimate goal of every existence.