Vincit Veritas

Blue, green, red, crackling and popping – this is how Vincit Veritas commences. In uneven movement, blocks of colour are driven vertically across the screen, evoking memories of technical problems experienced with the now almost historical apparatus used for film projection, of the series of frames which could get out of the proper rhythm, thereby destroying the illusion.At the same time, Vincit Veritas
itself is big cinema, a swan song in the form of a flare-up, shot on 35mm film for the big screen. reMI, in images which push the viewer’s sense of perception to its limits with their dizzying succession and nauseating changes in colour and direction, has produced a study in the field of culture theory. At the beginning of the 21st century, broad and integrative communication by means of topical media images is replacing the canon of transmitted images as a binding system of references within a homogenous and exclusive society of educated citizens. To what degree have digitally
generated abstract images been accepted as cultural elements? The high vs. versus low debate can begin.
reMi has rummaged through the visual reservoir of Europe’s intellectual history, stopping in the early years of printing. In the sudden appearance of pictograms and the sound of Latin litanies, the past is quoted and identified as Christian and Western. Drawings with religious connotations, skulls, baroque images of saints, fragments of texts. Cultural products whose creators were obligated to a truth which cannot be relativized. ”S. Aug” is visible at one point. Saint Augustine completes the conditioned mode of thought confidently. Obsolete assurance of a certainty, which has become suspicious in the same way as the motto: The truth is victorious. (Stella Rollig)
Translation: Steve Wilder