The first material evidence of the religion we are offering to you are about 35,000 years old.
Therefore, it is 28,900 years older than Islam, 28,500 years older than Christianity and 28,000 years older than Buddhism.
Our murals and drawings found on cave walls of Altamira and Lasceaux try to understand, describe and explain themselves and others their reality, just as we, as their followers, do it in the 21st century. Techniques and methods are the same, but reality is different.
It is impossible to establish exactly the number of its believers and followers. However, one thing is certain: their number is growing day by day.
Members of our religion gather regularly and present the results obtained through their committed believing to everyone who finds it of interest.
As believers we are ready to withstand the rigorous penance: poverty, lack of understanding from our environment and authorities, hunger, disease, criticism, humiliation, denial, only to remain in our religion and loyally serve it.
The followers of our religion, those who are completely dedicated to practising it, spread the belief that it reliably cures, heals and makes us better as humans.
It is known that many have definitely come to see after having understood our faith, its beauty, features and powers.
We can say with great certainty that many who have grasped our faith, its beauty, possibilities and powers, have definitely had an eye-opening experience. Sarajevo 2005./2016.
Video, 2005-2014, Dae Myoung Ri, Gimpo, South Korea
Camera: Jo, Young-Ho
Right on the border between South and North Korea at DMZ Dae Myoung Ri, Gimpo, by walking across the beach sand on which my footprints were the only human marks, I have left an imprint of my own mandala: Malevich’s square as a symbol, a sign of concentrated hope.
By leaving an imprint of his palm on the walls of Altamira, prehistoric human has announced the arrival of visual arts, and in the beginning of 20th century Kazimir Malevich has summed up the entire preceding art into one symbol – a Black Square, through which he proclaimed the end of objective and the beginning of the new non-objective art.
By leaving my footprints in a minefield within the demilitarised zone and sublimating these two symbols into the interspace between the conflict zones, I have positioned the act of mandala imprinting into the present-day and the current political context.