6. no limits missionary - kagule

The exhibition took place on February 20, 2009, at 21.00, within a home gallery set up in a typical block of flats living room. The assigned curator of the exhibition was a theology student.

"Within the general sensation of post-modern dissolution, where art turned into a corosive agent, entirely justifying its existence through the dynamics by which it attacks the traditional, the natural and the old, the No Limits Missionary takes one step further in the abyss of consciousness.

The chromatic and composition are shocking - the colors are often saturated, and the materials represent different objects with fetish value for the contemporary man. Deconstruction works as satire but also as self-irony - from the church art influenced by the Patristic thinking the artist gets to the fleurs du mal of consumerism and conventionalism.

Shockingly, the artist represents what religion has come to mean for the modern man: a serial product, shiny, instant, without depth - a surrogate. The exhibition is, for those who do not wear horse's goggles, an urban-industrial cry of desperation: something is terribly rotten - nihilism tends to be existentialist, tragic and comic, and in the sphere of the religious superstitions, fetishism and urban legends make their entrance.

Saint Dionysus the Areopagite, quoted by Maxim the Confessor and John of Damascus, consider that man rises 'to the contemplation of God with the help of visible images'. Thus, art becomes metaphisic and not realistic - a symbol, not a copy. On the other hand, theology considers man to be the image of God - a micro cosmos connected to the macro cosmos.

Starting from the premises and naturally ending up with the repetitive sophisms of post-modernity, secular art allows itself to violate limits of any kind, making visible the immense tension of nothingness - the absence of God indicatind the nonsense and meaningless of human existence. The logic of rationalism tries to turn man into super-man, but the boat sinks and man becomes anti-man. The artist uses the icon not in a theological sense, but in a evidently secular manner. The predominance of martial subject matter can be observed - minimally ornated with religious symbols, and the apocaliptic aesthetics is fueled by a intentional ecclecticism."

(A theology student)

The exhibition was made up of a series of ten paper masks. They were distributed through a raffle or tombola procedure to the public at the opening. Because of limited space, access was invitation based only. To this end, 10 invitations were offered to those who wanted them through a public announcement on feeder.ro.