The prophecy and the manifesto of a painter, written without words after the downfall of the Occident

14 minutes of cine-manifesto are written in the dark languages of the eroticized body, dreamlike imagery, and painting.
Each image, each movement, each painterly stroke is born from darkness by the will of chance, and therefore carries the utmost precision of expression and the inevitability of prophecy.
Each of these languages either escapes the singular time of Chronos or tears it apart. That is why these are languages not only of precision, but of resistance.
The most important among them is painting — the most useless, and therefore the freest of all arts.
The only true sign of Europe's death could be the death of painting. Death comes through the loss of foundations.

The stone was the foundation of European culture.
Yet while the stone supported all that stood upon it, it crushed everything beneath it.
The forces that broke through from under the stone have drowned it.
The rebellion against the stone is as just as it is tragic.
Everything that is deprived of support loses the power of resistance, the capacity for freedom, and its voice.
Everything without foundation is drowned by the indifferent current of Chronos.

We perform a symbolic act — we return the stone.
But now the stone must stand upon the water.

“Manifesto of the Stone upon the Water” is a prophecy and a declaration about painting.
And it is painting itself.