Apoteosis Now is a project from which the photographs of Cristina de Middel rush over the museum. Images loaded with facts, intuitions, mites, uncertainties, mutations, visions, totems and some taboo. An exposure in Cataract mode, term that the artist uses to define the cascade of images to which this era subjects us and, at the same time, this eye disease that prevents us from seeing them clearly. Each series, here, it behaves like a little treat of iconography, a visual novel, a seismograph about the manipulation of the real. And each work can be read as an archive of dreams or as a record of the obstacles that prevent their realization.
Apoteosis Now is set in a later world at the end of posthistory. Just three decades after the yawning era, prophesied by Francis Fukuyama, will fail without contemplations. I what, for fi, we will be bored with a boredom that never came. Sense principi ni fi, and below a chaotic appearance, in this atmosphere it strikes, However, an order: of sense, of intention in the change he proposes for photography, chromatic treatment, of impact on those who fall into it.
If the Apocalypse takes us, inevitably, to the abyss, the Apotheosis includes ways to dodge it in this age ruled by Iconocracy. A time in which Cristina de Middel warns us that the avalanche of photographs offered to us is as dangerous as those that are usurped from us. From this conviction, Apoteosis Now it conveys to us that images can not only serve to subjugate us, but also to offer us instruments capable of liberating us: to us and to our gaze.
