AVAVAV Fall 2024: Give Them Tomatoes to Throw, For Their Critique Is of Substance
In a world where culture is consumed and thrown away
with the same casualness, the AVAVAV Fall 2024 show
stands as a lighthouse shining light on the triviality of
instant judgments against creativity.
AVAVAV, under Karlsson’s command, orchestrates a macabre ballet,
where models, dressed for the art war, advance under the assault of an audience armed to the teeth with crumpled paper and prejudices.
This show, contrary to what one might read from the fashion eminences,
is not just a buzz — it’s a call for deeper reflection on the state of creativity in 2024 and the challenges of creatives of the time.
AVAVAV 2024: Fuck Immediate and Baseless Criticism
In a world where creating becomes an act of bravery, where every work launched into the public arena is at the mercy of a crowd that judges without context, with the tyranny of ignorance as their only compass — the AVAVAV show becomes a manifesto.
For the creative in 2024 has many hurdles to overcome to create…
Not to mention an economic context, he navigates an ocean of
cultural legacies so vast that it becomes almost paralyzing.
Creatives take the plunge, strive to excel, to master their mediums,
to express a zeitgeist through clothes, writings, paintings, attempting
to inscribe themselves in a legacy saturated with exceptional figures…
And once the mountaintop of creativity is surpassed,
they expose their work to the harsh light of the public 2.0.
A voracious public, armed to the teeth with instant judgments, ready to decimate years of labor with a simple swipe.
It is in this context that AVAVAV, under the visionary guidance of Beate Karlsson, launches a resounding challenge to the face of the world:
A middle finger raised high against the tyranny of baseless judgment.
And to do so, AVAVAV strikes hard, and strikes cool.
The AVAVAV 2024 Show is the Theater of a Creative's Inner War
The AVAVAV show has become the theater of a war where creation confronts criticism. The creative, embodied in the models, like a gladiator, is thrown to a frenzied crowd, thirsty for spectacle.
By transforming this show into a battlefield, where projectiles are as many embodied criticisms, AVAVAV does not just criticize criticism; it questions our relationship to art, our ability to judge what, fundamentally, we do not understand.
And Avavav precisely enjoys reversing the roles. If judging is the only capacity, the only weapon of the crowd, it offers them something to make their criticism tangible.
