Winter Season 2025 is conceived as a play of simulacra where fashion, desire, and ritual blur together, allowing new forms of contemporary adoration to emerge. Through a multidisciplinary approach, Collettivo G.M.R.G.P. reflects on the contemporary hybrid dynamics of art-making intertwined with the market’s needs.

The project begins as BA thesis project, with thorough preliminary studies, presented in the form of a fashion magazine, revealing more than the medium allows, such as target study and project timeline.

The three original designs presented, are the result of a linguistic reflection of the famous “j’ardore” motto, transposed as commodified manifestos of an introverted revolution, in which everyone can take part. This is the beginning of an operation that is intended to spread like a commercial one, showcasing two videos featuring doppelgangers of the artists and a photographic dossier destined for social media communication. The climax is reached when the artists finally perform online for 6 hours to promote the availability of the three original pieces with handmade box in an online bid for a limited amount of time.

The limited edition pieces produced for this operation are still available on the website and the soldout will determine the end of the project.

In an Adamic gesture, the subject both names and excludes the fullness of meaning. J’ARDORE, however, does not require an object in order to produce a complete phrase: the first person extends itself into the inanimate, simultaneously merging with it and separating the object from itself. By contrast, J’ACQUARD elevates the “I” as the sole existing subject, excluding any possible experience outside the self. This refraction onto all things becomes an auto-ironic attempt to influence the surrounding world through direct experience—almost a form of inverted telepathy.

J’ARDORE addresses the absence of the object, which is also the condition of desire imposed on every consumer. In a kind of prophetic self-destruction, the artistic product presents itself as a commodity, activating mechanisms of exchange that conform to pre-established social conventions—expansion of audiences, advertising, and social connectivity—ultimately leading to a logic of re-signification of the artwork.

The seriality of production, content, and distribution generates a networked redundancy, a simultaneity that compels the gaze to shift continuously: from object to context, to spectator, to buyer, in a dynamic of social consumption and narrative ambivalence. These semiotic refractions are possible only through their crystallization in the subject, who in turn, through the movement of the sign, becomes indistinguishable from the acted-upon object.