Imagine the Invisible Past
The igkas project is an experimental initiative that combines historical exploration with artistic expression.
Doing historical research involves an inherent difficulty. In theory, we can neither directly observe nor personally re-experience what happened in the past. We cannot witness what happened a few days ago, or even a few hours ago, by going backward in time. What really happened here in the past? What did they experience in the past? The pursuit of historical truth shows the fundamental difficulty of searching for the past events that we cannot directly access in the present.
Historical truth is thus theoretically unreachable and in this sense presents itself as the absolute Other. Research into the past is therefore a problematic endeavor to encounter the Other, which is unknowable in principle. Beginning with this fundamental difficulty inherent in historical research, the igkas project still aspires to create new modes of artistic expression through a doomed pursuit of the theoretically unknowable realities of the past. This experimental venture will unfold as a series of artistic practices oriented toward a radical leap (igkas) beyond the epistemological rupture between past and present.
In this impossible venture, we are destined to fail. Yet failure itself is not what matters. Through repeated failures, we elaborate new modes of artistic expression, which will in turn reshape our perspectives on art, history, and society. At the intersection of historical exploration and artistic expression, the igkas project spawns critical changes in our ways of seeing the world.
Imagine the Invisible Past
The igkas project is an experimental initiative that combines historical exploration with artistic expression.
Doing historical research involves an inherent difficulty. In theory, we can neither directly observe nor personally re-experience what happened in the past. We cannot witness what happened a few days ago, or even a few hours ago, by going backward in time. What really happened here in the past? What did they experience in the past? The pursuit of historical truth shows the fundamental difficulty of searching for the past events that we cannot directly access in the present.
Historical truth is thus theoretically unreachable and in this sense presents itself as the absolute Other. Research into the past is therefore a problematic endeavor to encounter the Other, which is unknowable in principle. Beginning with this fundamental difficulty inherent in historical research, the igkas project still aspires to create new modes of artistic expression through a doomed pursuit of the theoretically unknowable realities of the past. This experimental venture will unfold as a series of artistic practices oriented toward a radical leap (igkas) beyond the epistemological rupture between past and present.
In this impossible venture, we are destined to fail. Yet failure itself is not what matters. Through repeated failures, we elaborate new modes of artistic expression, which will in turn reshape our perspectives on art, history, and society. At the intersection of historical exploration and artistic expression, the igkas project spawns critical changes in our ways of seeing the world.
Imagine the Invisible Past
The igkas project is an experimental initiative that combines historical exploration with artistic expression.
Doing historical research involves an inherent difficulty. In theory, we can neither directly observe nor personally re-experience what happened in the past. We cannot witness what happened a few days ago, or even a few hours ago, by going backward in time. What really happened here in the past? What did they experience in the past? The pursuit of historical truth shows the fundamental difficulty of searching for the past events that we cannot directly access in the present.
Historical truth is thus theoretically unreachable and in this sense presents itself as the absolute Other. Research into the past is therefore a problematic endeavor to encounter the Other, which is unknowable in principle. Beginning with this fundamental difficulty inherent in historical research, the igkas project still aspires to create new modes of artistic expression through a doomed pursuit of the theoretically unknowable realities of the past. This experimental venture will unfold as a series of artistic practices oriented toward a radical leap (igkas) beyond the epistemological rupture between past and present.
In this impossible venture, we are destined to fail. Yet failure itself is not what matters. Through repeated failures, we elaborate new modes of artistic expression, which will in turn reshape our perspectives on art, history, and society. At the intersection of historical exploration and artistic expression, the igkas project spawns critical changes in our ways of seeing the world.
