In this work Violette appropriates a clip from the famous film house TriStar Pictures, in which a white horse gallops on a black background and then, like Pegasus, spreads its wings and flies away. In this case, however, not only is the image projected onto an invisible screen of vapor, making the horse almost a hologram in mid-air, but the gallop is also interrupted by a jolt in the montage, undermining the illusion created and revealing it. the source. The artist, close to the narrative and the visual language of the performance, in this first video work reaffirms his interest in the images used and inflated to the point of being emptied of meaning. Even the horse, which he used several times, evoking romanticism and heroic ideals, fits perfectly into this category. In this video Violette also deliberately mentions one of the most representative works of Jack Goldstein - an artist he deeply admires - in which a lion roars endlessly on a red background, making a sound to the clip of the Metro Goldwyn Mayer studios.

Having died prematurely at the age of 27, Snow from a very young age began to establish himself as a subversive artist and writer, known as the “Sace” of the “IRAK crew”. Over the years he decides to open up to a myriad of different expressive forms: drawing, collage, installations, videos and Polaroid notes, where sexuality and violence are the protagonists. Creativity, rebellion, fragility of life: Dash Snow's work - and in particular this installation - seems to be the celebration of a whole generation of angry and violent young people; of which it reveals limits and excesses

The original version of this work is a photograph entitled "In voluptate mors" that the Spanish artist Salvador Dalí, a lover of optical illusions, had Philippe Halsman taken in 1951. The image represents seven naked women, the positions of which, from a distance, form a human skull. In this interpretation the artist places himself at the center of it, tangled in the beautiful naked bodies and with his eyes closed in a sort of creative "trance" typical of Surrealism.

In his works Altmejd emphasizes the transformative and evolutionary nature inherent in biological reality, of which the life of a human being is only a small part interconnected with everything else. The artist presents his complex and enigmatic vision of reality as a source of wonder and joy; he considers his works "abstract living organisms", whose energy depends on the uncontrolled meaning of the works and therefore, ultimately, unresolved. ("I want my works to have an intelligence of their own, not just be a slave to my meaning". "I want my works to have an intelligence of their own, not just slaves to what I mean").

Having died prematurely at the age of 27, Snow from a very young age began to establish himself as a subversive artist and writer, known as the “Sace” of the “IRAK crew”. Over the years he decides to open up to a myriad of different expressive forms: drawing, collage, installations, videos and Polaroid notes, where sexuality and violence are the protagonists. Creativity, rebellion, fragility of life: Dash Snow's work - and in particular this installation - seems to be the celebration of a whole generation of angry and violent young people; of which it reveals limits and excesses

Samara Scott's work is inspired by everyday urban life, the languages of the post-media era and its chaotic frenzy. Brightly colored make-up, silicone, felt, toothpaste, toilet paper are melted by the artist in delicate and bizarre combinations. Scraps of disposable products from consumer society, images torn from magazines or stolen from youtube, become in the hands of the artist tools to re-propose, parodying them, the strategies of the consumer goods and entertainment industry. In a world devastated by hyperrealism, Scott tries to awaken the senses, showing the increasingly ambiguous boundary between the physicality of a real object and its vitality on the screen. Aquarelle Gastebuch I (2014) is a large sheet of glass. The surface is covered with a fluid and delicate pattern of colored elements. The rhythm of the composition, melodic and sensual, evokes the harmonies of Kandiskij, to which the title of the work explicitly refers, inspired by a painting he made in 1925. Aquarelle Gastebuch I was designed in reverse. The back of the glass was sprinkled with a layer of silicone, then colored with eye shadow, in which objects of all kinds are encrusted. Bottles, containers, lighters, nail polishes, candies, all products potentially coming from the shelves of a supermarket. Each element of this large collage is transformed, on the opposite face of the plate, into one of the forms of the abstract composition.