It’s The End Of The World As We Know It is conceived specifically for the Minorite Church in Maribor, a space holding traces of past ruins—as many churches do—and simultaneously standing as a new ruin for us, its present-day visitors. Its past presence overlaid as an intentional fragment is meant to be read as both ruin and something to build around.
The work is inspired by Federico Campagna’s philosophy, which understands “worlds” as constructed cosmological narratives that eventually exhaust themselves – each met by an “apocalypse” when the internal logic of the narrative dissolves. Within this view, this artwork connects symbols from ancient worlds and the present one to create a future ruin, to be used by new worlds after our world as we know it will disintegrate.
The installation, involving plasma TV screens and the images that, through over-exposure over time, are “burned” in the same display, connects images from our current world with symbols of the decayed world of the Etruscans, native populations to Petrozzi’s land of birth. Reflecting on the temporality of cultural symbols, the work aims at constructing the ground for a future ruin, a fragment intended for use or interpretation by worlds that may arise after the disintegration of our own.
✹ Main exhibition @ Esoteric Ecotechnics. Irrational Computation and Conspiratorial Networking
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Ginevra Petrozzi is an Italian interdisciplinary designer and artist currently living and working in the Netherlands. She completed her MA in Social Design from Design Academy Eindhoven in 2021, for which she received a Cum Laude, Best Thesis Award, and won the Gijs Bakker Award 2021. Her work explores contemporary issues around care, futurity and algorithmic governance. Currently, she is exploring the possibilities of mysticism and the occult within the landscape of contemporary techno-politics. In this framework, she took the role of a “digital witch”, reclaiming the archetypal role of the sorceress as a healer and as a political rebel.
