J `adore aglisia

photobooth installation


Collaboration with Ole Kretschmann

J` adore aglisia is a modern combination of a con-fessional and a photo booth. The title is a reference to the well-known advertising slogan "J' adore Dior" as well as a play on words with the French term église (church). The name aglisia is an acronym of the initials for the seven Deadly Sins in Latin; thus, an honest commitment to a new religious faith stating: I covet sin! Here, you can be redeemed from your sins for a small fee.


Redemption from religion leads to a life of self-determination based on reason and common sense. This liberation, however, exposes a void in human identity, where a world without God develops. A new God takes His place: the God of consumption fetishism. Worshiping unreal and inanimate objects has become the driving religious faith of our time. It determines to a great extent the self-perception of our Multioptionsgesellschaft (a society with endless options), because both the individual as well as society define themselves by consumption. Modern humans tend to instinctively attach objects and people to themselves. This desire, which in fact is the expression of individual freedom, creates suffering. The result is an over-saturation of society. Today's Multioptionsgesellschaft consistently forces the individual through an endless diversity of decisions to be reflected back on himself. The ego becomes the focus of attention in an ever-changing world. While consumption can satisfy the desire for self-determination and differentiation, the loss of any authority or regulation—and with it a moral conscience—can only be counterbalanced by society itself.


The following question can be asked: "What is missing, when nothing is missing anymore?" A society that lives by constantly creating new deficiencies will never be able to adequately answer this question because the endless decisions create disorientation. This disorientation leads to a strategy of indifference. By keeping all options open, the individual never tries to eliminate the right one. But by doing so, all personal commitment whatsoever is made impossible. Both the individual's imagined and constructed self-image become the purpose of all actions and thoughts. The new world religion defines itself by one's own ego. It celebrates daily our new deity: the "iGod." He is the benchmark of success. Nowhere else can he better be experienced than in the self-portrait, a modern image of a saint. It is the consequence of good or bad actions. Sin is often accepted in the process. J' adore agilisia was created against this background. The art installation's name already carries three important purposes: It is about a statement of faith, a reference to the well-known advertising slogan "J' adore Dior" and at the same time a play on words with the French term église (church). The name aglisia is an acronym of the initials for the seven Deadly Sins in Latin.

Avaritia avarice, greed

Gula gluttony, selfishness

Luxuria extravagance, dissipation, hedonism

Ira wrath, rage, vengeance

Superbia pride, vanity

Invidia envy, jealousy

Acedia discouragement, sloth, inertia

The sentence J' adore aglisia becomes the manifesto of a divided society that is searching for individual liberation and salvation but is unable to find any because it is defencelessly consumed by its own seduction. J` adore aglisia is an open and honest commitment to a new religious faith stating:

"I covet sin"

J` adore aglisia is at the same time a place for forgiveness and a moment for Judgment Day; kneeling devotedly, the user can be redeemed of his sins. As evidence, he receives a photograph free of sin, on which the state of his current sin-balance is documented. He can watch the purification process inside the booth through a peephole. This device is the technical answer to soul purification or baptism. This newly developed procedure guarantees all sinners the path to paradise. The confession becomes an egocentric-pompous, and at the same time exhibitionistic-intimate, celebration performed in public.

The outside appearance of J' adore aglisia is strikingly contradictory and allows an open interpretation. The shape and size of the strict geometry resemble a conventional photo booth. The ornaments and the surface's adornments point to the archetypical place of worship. The symbol of a bitten apple, the Fall of Man, is placed over the entry; around the apple, you can find the seven Deadly Sins. According to Nietzsche God has been declared dead; since then, mankind has lived under an empty sky. The glass box shows this empty space. The sinner is invited to come into the golden interior of the booth in order to ask for forgiveness, on his knees, under the empty sky. While leaving the confessional, he looks into the box and realises that the sky is not empty after all, but that there is a new God to be found. He sees his own reflection.