ICONOSTASIS III explores the depths and abysses of the bermuda triangle between economy, religion and arts. For centuries there has been an interaction between theology and imagery. Church and arts formed a strong symbiosis. The works of artists molded the images, thoughts and feelings of believers. At the same time the beliefs of artists and the concrete requirements of the church shaped the imagery in arts.
Capitalism with its over­production uses religious motives, compositions and rites to sell its products.
Todays icons are found in fashion magazines. The crucified Christ is replaced by George Clooney, sitting in a Rolls Royce or posing in front of an espresso machine, for which to get the believers go through fire. In the latest James Bond movie, 007 is asked for his hobbies. His answer is „resurrection“.

In Byzantine church tradition, the iconostasis is a separating wall between the sacral room for the trans­substantiation and the secular room for the congregation. It is a wall of icons facing towards the gathering of believers. In the middle of it there is an opening, a door through which the priests hand the gifts (bread and wine), which have been trans­substantiated in the sacred area, over to the congregation. In economics there is exchange. The trade is based on a mutual evaluation. Economic actions are assessed by putting into relation the invested means and the obtained results, and purpose-rationally maximizing the benefits, or profits, respectively. While the iconostasis is a place of blessing – the visitor receives what he can in no way earn (sola gratia) – the laws of economy dictate the very opposite conduct: you must earn everything that blesses you.
The arts project ICONOSTASIS intends to let the old sacred ritual face todays laws of economy. What happens if the two systems are superimposed in the act of exchange?

ICONOSTASIS was initiated by the artists Florian Dietrich, Martin Schepers and Markus Zimmermann.