Essel- Exit

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Contact for booking: carter.jeremiahm@gmail.com

Realism only exist in the capturing of an image. Realism only manifest itself as a recording, as the archiving of an event. But the event itself is an act of creation--a totally unreal situation. Thus unless the act of creation is recorded, it cannot ever be realistic. Movements, moments, memories, recordings, are all rooted in realism. 
The act is based on surrealism. Thus, every event is surreal. Only in retrospect does an event become real. The paradox of real-surreal imagery reconciles itself as a act of creation and the recording of that act and its emotions. Essentially they work in tandem. But when the images become corrupted, commoditized, or spectacularized, they become the work of capital. This is the point in which the image becomes spectacle. 
Fascist propaganda and coke commercials do not portray a surreal situation or a real situation, but there own ideal situation. Cinema then becomes corrupted for capital. That is to say, it commodifies. Realism can be interpreted, examined, influenced, or even simply portrayed. The unrealistic notion of a controlled ideal situation is edited, manipulated, exploited, or altered. The ideal situation is the masquerade of the image. Just look at those beautiful shots of the Nazi celebrations: They portray an impossible ideal becoming possible as an image. Realism portrays an impossible idea becoming possible in action. Everyone wants to become a fascist to prefigure an idea into action via an image.

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