In order to understand the world in which we live in, as well as the relationships between each country, we use reading grids and various models of interpretation. By doing so we are unconsciously implementing some metageography. Indeed, the structure, shaping and the organisation of our geographical knowledge is arranged according to abstract concepts, founded mostly on current facts. Just by the action of classifying, or simply labelling, all our world depictions automatically go through multiple processes, entailing some important consequences. Continue reading “Metageography or the power to reshape the world”
Last week, on March 28, the Pompidou Centre opened an exhibition with the title: Chagall, Lissitzky, Malévitch: L’avant-Garde Russe à Vítebsk (1918-1922). The exhibit revolves around a revolutionary art school, Vitebsk Fine Arts School, and three key figures in the elaboration of their new artistic education and collaborative creativity: Marc Chagall, the institution’s founder, and two artists that Chagall invites as professors: El Lissitzky and Kazimir Malevich, creator of Suprematism. Works of the three painters, with works by other students and teachers of the school are exposed, while the Russian avant-garde is explored, especially the creation and development of Suprematism and the UNOVIS group (Followers of the New Art, by its initials in Russian). Continue reading “Collective art, Pompidou Center and Palais de Tokyo”
The result of the 2016 Brexit referendum came as a shock for many, while others saw it more as a wake-up call. Voices were being raised that the EU would have to work on its concept and it also became increasingly obvious that other EU-countries were also struggling with Euroscepticism in politics and among its people. So far, it does not look like the EU is facing mass-egression, but it remains to be seen how negotiations between Britain and the EU will conclude. For now, there is no concrete information on this, but the different parts that now have to disentangle offer some sort of prognosis as to how and if there can still be a form of cooperation after Brexit. One of the fields which will be hit very hard by Brexit is archaeology. As a cultural science, it is a discipline based on many different other sciences such as anthropology, geology, biology, or chemistry and physics, and is traditionally dependent on cultural exchange and international funding.
Continue reading “Brexit: What Britain leaving the EU could mean for British and European archaeology”
La Disillusione arises as an encounter of creative minds, of whom it collects and gathers the ideas, creating a sounding board which aims to have them diffused. University students from different fields of interest constitute the entire editorial board of La Disillusione: from Politics to Literature, from Cinema to Psychology, from Arts to Natural Sciences. The group’s leitmotiv is the will to collaborate for the creation of an innovative and original project, enhancing personal creativity.
Disillusionment has been following our generation since its earliest youth, of whom this project strives to become a manifesto. The financial crisis, political instability, climate change, the rise of individualism, the collapse of ideologies: such is the background where we have grown up. The generation with the highest number of resources and possibilities in the whole History has been deprived of its greatest possibility: to have any kind of illusion. “The degree is useless” “You’ll never find a job” “Voting is pointless, nothing will change” “You’ll never reach independence”: we are daily immersed in such sentences which have gradually turned into self-imposed limits and excuses for failure. We therefore feel the need to emerge from this still and deep sea, by paradoxes and uncertainty contaminated. The solution may only be one: the synthesis of ideas.
Something needs to arise from disillusionment: it shall be a realisation of the reality, instead of a surrender to it. Thus, the final purpose of this project, more than a mere magazine, is a shared space where each author may freely express his or her vision of the reality, through a variety of contents from a critic or artistic point of view. Hence, every production of La Disillusione intends to either explicitly or implicitly express a prepositive idea, rather than an idea for the idea’s sake.
Disillusionment is the agnosticism of hope.
The editorial board