The paintings on display in the main hall borrow from the murals of the Orthodox Church in terms of size, theme, color and so on. The difference is that the painting adopts today’s common flat, symbolic characteristics and collage techniques. The second is the installation transformation of the work: the colors of the two believers disappear in the main picture, leaving only the gray outline. On the outside of the main painting there is a self-contained humanoid installation whose body parts are brightly decorated apostles, but whose faces are hollowed out. People can put their faces in the hole to take pictures and play saints. Of course, the practice of pretending to be a saint is not new in itself. There are similar photo-taking games at historical sites around the world, but here the game is played in the context of the exhibition, as if the characters have just escaped from the painting.
Organized by the Japanese curator Kyoko Sato and the artist, the theater-like exhibition space seems a direct reference to the current global god making movement. In a small enclosed space in the gallery, several false “precious ICONS” are displayed: Gothic church stained-glass Windows placed in gothic style frames. The collage of fragments of new media (text, video, etc.) is backed by portraits of modern fashionistas such as Bill Gates, who look like medieval saints. Shiny, solemn and pretentious, these fake ICONS hang under a single spotlight against a black velvet background.