What can art propose in the post-Internet, post-truth, post-cinema and post-photography era? When the technical image has gradually overcome the status of witness, track, political manifesto, binary matrix, or virtual reality, maybe the time has come for a return to an area of ​​metaphysics, of the person. In this context, Deleuze stated in his books about cinema that no one other than the artist, the new philosopher who replaces concepts with focal distances, plans, contrasts of color, can really reveal the structure of time, of movement.

The Synapses project proposes, in this direction, an analysis of the duration and subjective memory using as a pretext and starting point an artistic research of the Danube area. While the vast, pictorial images of Dani Ghercă combine a reparative mapping of the Romanian part of the Danube (equally long as neglected) with a meditation on the possible return of aesthetic value in photography, Iosif Kiraly’s project operates a game of linking memory with time-duration, respectively with a certain type of space, the qualitative, inhomogeneous and immeasurable space that the same Deleuze called “any space” (espace quelconque).

Resuming the working principle of the known Re-constructions, Synapses takes a step further on the path of dissolving classical space-time coherence. The quantitative, homogeneous, discernable in moments will be replaced by that bergsonian flow of time-duration, concomitant, the subjective connection of images will reconstruct the metaphor of the river in which past, present, future, reality, dream or possibility do float freely, merging one into another effortlessly, beyond any norm of the physical world, of causality. Thus, the project offers (as if at the suggestion of the same Bergson) not mere representations of the mind, emptied of realness, but remembrance-images, a consistent mixture of real and virtual.

The intuitive knowledge offered here will dissociate itself from the space of action and operational intelligence, always interested, aiming at the free flow of time, of the self. The Danube will thus open another river, of affects, of the multiplicity without divisibility, of the succession without separation. The function of this mirror-river being to facilitate the recovery of a fundamentally unscattered ego in space, which by a simple reconfirmation of its privileged relationship with time and memory will restore a possible balance in the era of manufactured identity.