13th Organ Vida Festival: Creeps and Butterflies, The Museum of Contemporary Art Zagreb, 2024
Group show / 26/09 – 3/11/2024
Curators: Barbara Gregov, Lea Vane, Lovro Japundžić
THIRST IS COLLABORATIVE INTERDISCIPLINARY PROJECT CREATED BY KRIŠJĀNIS ELVIKS, ANNA ANSONE & ANNEMARIJA GULBE
Photography: Ive Trojanović
At the end of 2022, when ‘goblin mode’ overwhelmingly triumphed in Oxford Dictionary’s selection of the word of the year, we wondered what would follow: would it stand for an empty gesture that normalizes self-indulgent and defeatist behavior, or could it rather come to represent a punkish disobedience – aestheticized, but still politically charged articulation of dissatisfaction?
The term went viral that same year, playing a key role in the fake news account of a celebrity breakup involving rapper Kanye West (now known as Ye) and soon-to-be fashion icon Julia Fox. While post-breakup Ye kept lingering in his now-signature ‘dark mode’ behavior, Fox’s newly adopted goblin state led her to embody a distinctive expression of discontent, to become the face of a fresh take on contemporary beauty—the latest iteration of the aesthetics of ugliness.
The ugly seemed to have seeped into every pore of visual culture. The messy, raw, and the hideous slowly pushed out sleek looks and polished images. BeReal’s ‘genuine glimpses’ seriously threatened the reign of the Instagram face. The weirdos took center stage. We embraced smudges. Dirt. Alien vibes. Welcomed ugly ducklings. Killjoys. Chaos. Everything macabre. Opened doors to ‘bad beauties’, ‘trashy girls’ and ‘creepy cuties’. ‘Feral girl summers’ and ‘anarchist femme baking’. All the strangely defiant micro-trends. The Y2K, in general. Goblin mode came to represent a somewhat grotesque, yet poignant rejection of perfectionism, both in relation to bodies and visual culture. It emerged as a way of seeing, but also as a mode of being — an unfiltered response to spiritual nihilism triggered by the current state of global affairs, by the imminence of the world falling apart, evidently much sooner than we expected.
This year, Organ Vida is all about these odd disobediences. Micro-rebellions, gut reactions, instincts, intense yearnings and bizarre obsessions — the weirdly visceral. We are interested in images that incite repulsion, but also fascination, that give us both creeps and butterflies. We are looking for those unafraid of getting dirty, those that joyously mess with mainstream beauty ideals, societal norms, or art conventions. Those that try to make sense of the chaotic world we live in, in the most unusual ways — that delve into parody, fantasy, or camp. We hope to find those that have bad taste or manners. Those that might seem dark but are also funny or cute. Stunning, even. Because in the right light, as Fox would say, ‘everything, even the ugly, is nothing short of breathtaking’*.
*Julia Fox, Down the Drain
THIRST IN GROUP SHOW ‘IN THE NAME OF DESIRE’, LATVIAN NATIONAL MUSEUM OF ART, 2024
About THIRST:
Just like the experience of thirst at the seashore, where water is present but does not allow to satisfy one’s need for it, the vibrant images of social media can arouse a desire that cannot be fulfilled through virtual contact. Thirst accompanied by the rhythmic sound of waves, by the repetitive touches of a smartphone screen. The image constructed by the artists, which plays out various poses typical of the thirst trap genre, conjures up a fantasy-like atmosphere in the romantic sunset setting. The body, clad in the all too casual denim, departs from the fulfilment of conventional gender expectations, performatively blurring the boundary between masculinity and femininity.
ANNEMARIJA GULBE 