11.12.2018 – 26.01.2019
On Tuesday, December 11th 2018, Ileana Tounta Contemporary Art Center presents the solo show of Frini Mouzakitou, titled Non est potestas super terram quae comparatur ei.
The show will run until January 26th 2019.
Nothing on earth is its equal.
The English philosopher Thomas Hobbes, one of the theoreticians of the social contract, in his 1651 book Leviathan, laid the foundations for the establishment of the regulatory rules regarding human cohabitation and co-operation. Hobbes, following a sense-based approach, argued that human nature is guided by passions and the instinct of self-preservation and can therefore resort to any atrocities in order to impose domination over the weakest [homo homini lupus est].
Every living creature protects its own life by destroying another. Starting from our mythological views on impulses, we can easily reach a formula for defining indirect roads that lead to war. The tendency for war is the result of our internal destructive impulse, suggests Sigmund Freud. Relations between states are in a similar continuous primitive physical state, in a constant vigilance and war awarness, while the conflicts of the global community are no longer confined to borders and states, but their underlying causes lie on economic rivalry and cultural differences.
Looking both at the symbolic image of sovereign-Leviathan, as Hobbes himself has shaped it, and also at Job’s biblical phrase, the image of people oriented towards something invisible, becomes the precursor of a new intangible world power, a power matriculated and diffused by certain technologies in the post-modern landscape.
Via the technique of reproducing an image, meaning via modern media, the alteration in the way in which an event or person is projected, undelies also in politics. Through a multitude of documents from conferences, economic and political forums, summits, the new Leviathan becomes visible on our screens, while international diplomacy, as a complex interconnection network, shapes our lives through events happening and decisions taken without us.
Images from bilateral meetings resemble a theater scene that remains almost identical time after time. In places of exuberance and majesty, between bouquets and national symbols, political leaders impersonate themselves in front of microphones and cameras. Their political speech often bears a theatrical charging both in terms of articulation and content. The crisis of bourgeois democracies includes a crisis of the terms governing the promotion of leaders, as Walter Benjamin aptly argues in his essays on art.
By collecting archive material from anything that refers to this global governance society, I became aware of the multifaceted nature of these seemingly indifferent documents and the potential they acquire by giving them, through the photomontage, a new cognitive structure.
The resulting hybrid images create a new condition of perceiving the historical event, but also of the emblematic space in which it takes place, a perception often irrepressibly ironic as far as its interpretation is concerned. At the same time, these images function as a comment on the true and the credible. In any case, we never learn what has actually been said in these meetings and diplomatic forums. What is the impact of decisions taken and how important or insignificant they are. An which human situations they will affect, since such situations always exist behind the great politics.
Athens, December 2018