For the imagery, we have integrated LTTT into the nose of a lie.
For the text, we translated “postpost” as “之后的之后” (also means the “After the After”), a re-encoding of modernity’s time structure. It points to what Deleuze and Guattari refer to as the “post-” continuous line of escape: when “postmodern” has already been consumed, new aesthetics and modes of perception can only emerge in a further delay. Thus, “之后的之后” refers to a temporal loop—one that is later than postmodernism yet always lingering at the cusp of the future. This name was chosen to emphasize that the experience we create is not a promise of futurism, but rather an exploration of the gaps that emerge after the continuous postponement of the future: those blurred zones between art and commerce, objects and meaning, consumption and reflection. It is within this aftershock of time that “之后的之后” invites the viewer into an unnamed sensory life.
