The capture of “Brave new world” belongs to reality, not being a projection of our imagination. It is substantially based on the deeper anatomy of human nature. It is real and points out forms and structures of our social space.

The exhibition took its name from the eminent and always modern novel of Huxley, which predicts a gloomy future, which our reality would confirm, re-examining anew the contemporary “Brave new world“.

Within the limits of “Brave new world” there are inherent, multiple microcosms that became the symbolic realisation of the “upside down” of the modern world. That keeps up with the human inclination. Nevertheless, it starts from social and political questions of vital importance, such as the economical and intellectual crisis of lower and intermediate layers, the ecological destruction, the general feeling of isolation and uncertainty and the incapability of the political system to contribute actively to the prevention of collapse of the world and its social environment.

The photographers approach their personal, local and oecumenical considerations with a critical and, occasionally, sarcastic attitude, which forms a rich social and political context.

The photographs are not only expected to be gazed. They mean to intrigue, they show or simply capture the limpid and direct photographic depiction of a season, which is deprived from any powerful proposals and prospects.

“Brave new world” belongs to the present, looking to the visible future and simultaneously reflecting memories of the past. It is unravelled to each receptor in a different way, it is open to differing approaches and different answers, if somebody attempts to find them.

MANOLIS MORESOPOULOS