The predominant cultural code of the new global society underlines the existence of a connection between life and images which goes beyond the act of knowledge and which is not reduced to the classic relationship between substance and accident or between nature and intervention. Images, through the multitude of their representations, capture reality and covert it to something that can exist beyond its original state, beyond its own nature or individuality; images multiply reality and makes it infinitely appropriable, infinitely adaptable to a purpose or a situation.
In his work on perspective, John Peckham states that ”an image is the appearance of an object outside its place, because the object appears not only it its own place, but also outside its own place imagine”. The life of images is the existence of forms in a matter that is foreign to their natural subject. Our image is precisely the existence of our form outside our matter, outside the substrate that allows this form to exist. The image is born and always lives on after the demise of the body whose form, final point and surface it borrowed, but always before the consciousness in which it is, once more, received and perceived.
Andrei Nacu's works question this family's image archive, as well as series of images collected from the local everyday life, such as the identity photos of unknown individuals or the excerpt containing the execution of the Ceauşescu couple, taken out of the video of their trial on 24 December 1989 and turned into an album that displays, frame by frame, the entire scene.
The question that accompanies the production process of his works is: how will these images, be they family documents or images he is attracted to, influence memories and experiences? The search for an answer is an essential part of this process, as it questions one's own identity. The border between image and memory is blurred. ”Photography can block memories when we preserve in our memory only what was photographed – but it can also be a support for memories. Family albums can influence the way we look at our past, but what we do with the photographs, how we use them and how we relate to them pertains to the present. These proofs of our existence are part of a continuous process of creation, recreation and understanding of what we are today”.
In counterpoint, Mihai Vereştiuc's sculpture stylizes the shape of a route or of a trajectory in time. A generalised slice of life with a predetermined destination.
The themes and the form of the work deal primarily with the aspects of critical and political thought. Life lived in a given time interval is characterised by the will of a power to control that lived time. As a rule, political power and particularly totalitarian power replace the supremacy of the time lived and invented by the individual (life as work) with the fantasy of a central place from where we may have access to the global meaning of society. Comparable to the massive wooden modules that outline a route that is as linear as possible, the ideal of political forms systematically seeks to establish a form of temporal immobility, to level off or to globalize the lived time, a fantasy of eternity that tries to standardize and to control behaviour.