KILL Yr IDOLS
The 20th century invented youth. It has inspired the century in all matters, it has become its horizon. We move forward according to its tastes. Until the end of the World War II, youth was thus only rarely considered, as if in a transitory state, stuck in an awkward age. Then, all of a sudden, with the rise of pop culture, the market economy started to seduce it. A phenomenon that was long regarded as an embarrassing growth spurt ended up dominating the world.
The 21th century is nineteen, twenty years old. And youth still remains a mystery. One relishes to conceptualize and historicize it. One also knows that youth never stops to toss and turn. It exists in order to produce moments, ideas (immediately subjected to aging), new gestures, or which youth believes to be new? Amnesiacs are the content ones.
One must see how the history of youth has been sketched in the last century, as a straight line, or maybe in successive layers, strata, sedimentations. Less than a century has produced a tome of attitudes that describe each and every generation, the way they took possession of the cultural field, of trends, languages, postures and all theses signs that aim to destroy the next generation (in order to provide new space for the possible).
Invariants stand in the midst of all this nonetheless: the same doubts, rage, opposition, unease, fake arrogance, discoveries and the same gold. Politicized, or at least concerned, youth 2.0 is soaked in a yet to be analyzed opposition between the speed rate of its exchanges that it constantly develops further and a desire to tame late capitalism's irrevocable damages: the disintegration of the planet and its climate.
Outpacing capitalist realism might well have become the new horizon of a youth that was formed by its very capabilities of speed.
In this setup, what are the new postures, ideas, excesses and transformations that are – again and again – capable of inventing youth? How will the new emerge if we remain at the core of an exhausting recommencement ?
Philippe Azoury
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MA FINE ARTS
by Alessandra Ghiazza
In the empty spaces I find pieces of dreams fields and water, of the forgotten green. A stratification of memories that leads to reveal experiences in natural landscapes, real but also places suspended between memory and the dreamlike, creating through geometric and repetitive shapes a space of contemplation on places, to find them again; postcards of a fragile and continuously changing landscape.
MA FINE ARTS
by Axel Mattart
Tired of Fighting Against Your Brain ?
MA FINE ARTS
by Camila Polania
Some say the body arrives first, and the soul takes longer. This installation begins with that delay, in the tension between presence and absence. Instructions of Rematriation is a video installation projected onto a wind-moved fabric, a surface that never fully settles. In front, white Rimax chairs evoke everyday spaces of waiting across Latin America: porches, patios, sidewalks. The work follows the passing of a single day, tracing the slow return to the body after displacement. Through video, writing, textile, and sound, the installation holds a kind of return, not geopolitical, but personal and ancestral: a political and spiritual reconnection with what was once left behind.
MA FINE ARTS
by Giorgio Cassano
ZONA DI SACRIFICIO is a film study that fuses documentary, ethnography, and poetic montage around the Fiume Tara—Taranto’s revered “miracle river.” Through a tapestry of memories, legends, visions, and personal testimonies, the film explores how this sacred source has sustained local identity and resilience, even as the encroachment of the ILVA steelworks has turned the surrounding landscape into a literal “sacrifice zone.” It is both a visual elegy to a once-pure watercourse and a poignant reflection on environmental violence, tracing the uneasy coexistence of spiritual reverence and industrial devastation in a community striving to reclaim its voice.
MA FINE ARTS
by Ludovico Orombelli
Sinopia is the culmination of a research project carried out at ECAL on the techniques and images that have shaped the Western imaginary. A scene from The "Legend of the True Cross", painted in the 15th century, has been reproduced using the same materials that its author, Piero della Francesca, employed to sketch the preparatory drawing on the wall before completing it in paint. The image thus reappears in its earliest phase, as a ghostly presence that invites us to reflect on the presence and role of the past within our present time.