Artists: Razvan Ion and Bogdan Stanciulescu

There are no innocent victims in a war. You can’t even consider yourself just an accomplice in the case of participation to a war, because it depended on me that this war should not exist, for me and by me, and I have decided that it exists… Those who participate in wars could have been exempt by suicide or desertion. But war or torture are not inhuman… The inhuman aspect is decided by the human being by means of fear, flight or magic (Jean-Paul Sartre)

A new millennium, a new rejuvenation of humanity.

The socio-political involvement of each individual starts from childhood. Unconsciously. Involvement is assimilated to the childhood tales: heroism as a show. Or, recently, a virtual show. How intense can this show be though when the leitmotif, the opponent, is missing? Is there heroism without heroes?

Innocence presupposes domination – the balance dominator vs dominated is susceptible; it breaks at any time. The poles are reversed. Innocence presupposes admiration, the fascination for power of a patriarch where there is male, sexual ferocity.

Innocence is a calamity of survival.

We are tempted to ridicule the daily life by the access to grotesque actions, rather than those that belong to standard behavior – socially accepted by everyone. Rules are absurd, and so are conventions. They have no content. You cannot trust them.

Innocence tests the validity of social standards and conventions.

The recourse to history can be the key of leaving innocence behind. Totalitarian regimes fell because they did not know innocence.

In his balcony, the dictator seems innocent…

Every human being insists to be innocent and for that, he or she is ready to accuse the whole world and the heavens.

The artistic discourse has the meaning to show what the artist creates and to ask questions to the audience. How innocent is that? poses the proposed artwork in a dialogue with the public; they are the ones who have to understand the meaning of the art and connect beyond the appearance.

The exhibition investigates instincts and our expectations in relationship to objective reality. How can we watch the world without recourse to innocence?

Eugen Radescu