For behold, the apocalypse takes many forms in the eyes of imagination.

Let us therefore proclaim that:

I. We renounce the misconception of apocalypse, the mistranslation of ἀποκάλυψις (apokálupsis), as it’s officially coined, but accept it for the double entendres.

II. The principle of paradox is our central theme. When trying to see a bigger picture, truth can only be grasped as contradiction. The truth of our nature, which we as artists try to depict in various forms. That truth that does and doesn’t exist, subjectively may not, but only exists as subject. New angles open our eyes for perspectives, where even extremes turn into equals.

III. The interplay of subjectivity and intersubjectivity defines, how we see the world around us, how we see art and the world through art; how we affect the environment as much as vice versa. Time has come to entertain the idea (again) that the entire cosmos is alive, in constant communication with itself. So the signs you see: faces on mars, hippies on toast, could be really there, trying to tell you something. Doesn’t necessarily mean anything — a lot of it is noise.

IV. Hubris strangely seems to be a design feature, when it comes to us, how humans came to regard themselves as superior, somewhat isolated from the rest. While we emerged from nature, and everything we’ve ever made, was made from her, we’re as disconnected as we believe ourselves to be. By Darwin’s standards, of all earth dwellers, we might turn out to be those, who evolved deepest within the cave, hence the blindness. Repeatedly searching for definite answers for what is and will remain unutterable. The tools of allegory and symbols bring us closer to an answer than anything else, we ever came up with — as artists, we regard them as most important in our repertoire, on our attempt to manifest the things that demand to be manifested.

V. We reject misnomers such as postmodernism, modernism, futurism, neo-modernism and the likes. The concept of progression per se is problematic, since it implies that we, this very special species, walk on a linear path of improvement. It would be naive to become overly optimistic about our near future, but we equally refuse to be a hostage of our current self-destructive nihilism, for we believe that by opening Pandora’s box, there was also hope released into the world.

VI. As we ironically return to a cyclical view on time — hello Déjà-Vu, we believe, a two-dimensional world view simply doesn’t cut it anymore. Let’s at least go spherical, or wait — it’s assumingely more bizarre — cubical, or directly upgrade to a four-dimensional analogue. Accordingly, we propose a hyperspatial world view, which allows anyone willing to see those facets reflected in our art.

VII. The law of birth, death and rebirth. A thematic reoccurrence of certain phenomena, world events, trends, whichever “real-life” scenario serves best to connect with that metaphor — all things seem to come, go and return in a different disguise. So when it comes to art, it is as useless to search for the new outside of what is believed to be known, as it is to recreate the same out of the same old.

VIII. While acknowledging the continuous transformation of our collective state, we hold a deep reverence for antiquity and appreciation as well as respect for every cultural expression in the history of mankind. The reason we give ourselves to exist, is to create — to create and experience creation; to support creation recreate itself.

IX. And last, but not least, as the snake bites its own tail, and the number 9 signifies the infinite since ancient times — the universe appears to have a great sense of humor. At the end of time, it all might be a cosmic joke. Are you able to laugh about it (hypothetically)? Welcome to the club.

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