What could have happened, at the anarchist, secret, overturning meeting (assembly) of the planet? The Writings and Their analysers, are in a position to inform us, in vexatious detail and scientific arguments, about it.
With reports to the cinema pictures of Pier Paolo Pasolini, at the plastic-kitsch time and in the role, that finally played or plays “the follower who betrays”, Panikos Tembriotis enters the ceremony of the “Last Supper”, insisting on the objects-tools, on the clothes-raincoats, on the wax replicas (models), on the baby-childish toys and on the question between “it is” and “it is not”, the teetering on the see-saw”. The gang is dignified. The woman, indisputably desirable and criminally forgotten.
The visual quest of the “Last Supper”, wakes up the following day. A bright portrayal of the “event” (of those sold in commercial fairs on religious festivities), a minimal-imaginary fruit and vegetable market offer its dawn enigma.